Pinin Brambilla Barcilon Archive
Turin, Galleria Sabauda, Giovanni da Milano, Eleven Saints, Painting on panel
Description Reports; phototypes (positive, negative).
consistency
Quantity 2|109|45|4|5
Type positive document(s) on paper up to 21x29 cm.negative on film up to 10x15 cm.positive slide(s) up to 10x12 cm.negative on film - x-ray(s) 30x40 cm.
Description restoration reports.►84 positives b/w 18x24 cm, 15 positives in color 18x24 cm, 9 positives in color 10x15 cm, 1 positive in color 8x8 cm. 3 colour slides with frame 5x5 cm, 1 colour slide 10x12 cm, x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
Reordering sign
APBB_CTRS_F202_17; APBB_CTRS_C37_17
Restoration report (01/1978-12/1979) and photographic documentation relating to the intervention carried out on the painting depicting Eleven saints by Giovanni da Milano. The photographs illustrate the phases before, during and after the restoration.
It also contains: documentation on the work received from the National Gallery in London (11/12/1970) and from the Pinacoteca di Brera in Milan, where the other parts of the dismembered polyptych are preserved.
Simplified description
The work "Eleven Saints" by Giovanni da Milano is a painting on panel of about 1365 preserved at the Galleria Sabauda in Turin.
The restorer Pinin Brambilla Barcilon restored the work in 1978-1979 together with the art historian Giovanni Romano.
The restorer treated the table against xylophagous insects (insects that feed on wood and damage the work) and carried out the cleaning (cleaning the surface of the work of art from the dirt deposited over time).
It consolidated fragile and damaged areas (the operation that makes surfaces more stable).
He removed the non-original frames and the raised golden scales.
He carried out the plastering (a white layer of plaster and glue that extends inside a lack and that forms a smooth and uniform base on which to paint the additions) of the frame.
He covered with watercolor veils (transparent color layer) the holes of the nails in the frame.
Scientific analysis showed the color drops and gaps (missing parts) on the painting.
The restorer removed the paint and repaintings.
He fixed the golden scales and consolidated (make the surfaces more stable) the painting.
He cleaned the yellowish paint and the repaintings.
He putty the gaps (a white layer of gypsum and glue that stretches inside a gap and forms a smooth and uniform base on which to paint the additions).
It has reintegrated (reconstruction of the material or color of missing parts) the original surface layer with watercolor glazes (transparent layer of color), abrasions (scratches on the surface due to rubbing) and the central slit.
CCR and accessibility
