Pinin Brambilla Barcilon Archive
Turin, Galleria Sabauda, Antonio Benci (Pollaiolo), Tobia and the Angel, Painting on panel
Description Report, draft, handwritten notes; Phototypes (positive, negative).
consistency
Quantity 1|131|83|24|2
Type positive document(s) on paper up to 21x29 cm, negative on film up to 6x6 cm, slide(s) up to 6x6 cm, non-standard phototype(s)
Description restoration report.1 positive b/w 20x30 cm, 91 positive b/w 18x24 cm, 36 colour positives 18x24 cm, 1 colour positive 18x19 cm, 1 colour positive 14x18, 1 positive b/w 78 negatives on 6x6 cm film, 5 negatives on 35 mm film, 6x6 cm colour slides, 1 positive b/w 30x40 cm, 1 photographic composition b/w consisting of 6 positives (40x45 cm).
Reordering sign
APBB_CTRS_F206_24; APBB_CTRS_C39_24
Restoration report and photographic documentation relating to the intervention carried out on the painting depicting Tobias and the Angel by Antonio Benci (Pollaiolo). The photographs illustrate the phases before, during and after the restoration of the work.
It also contains: Analysis of wood and pictorial matter, by A. Gallone (Politecnico di Milano); handwritten notes also in French; Manuscript list of phototypes in the file.
Facilitated description
The work "Tobia and the angel" by Antonio Benci called Pollaiolo and Piero Benci called Piero Pollaiolo, now known as "The Archangel Raphael and Tobiolo", is a painting on panel of about 1465-1470 preserved at the Galleria Sabauda in Turin.
Restorer Pinin Brambilla Barcilon restored the work in 1982.
The work was very fragile because the wooden support was spongy and full of holes due to the xylophagous insects (insects that feed on the wood and damage the work).
The painted surface was also vulnerable to finger touch.
Restorers in the 19th century had thinned the wooden support and added a support structure, causing degradation and cracks in the wood.
The painting surface was damaged and a yellowed paint tarnished the original colors.
The restorer Pinin Brambilla removed the wooden support and transferred the painting to a double canvas and a polyester plate.
He cleaned the work and removed the previous restorations, recovering the original color, even if depleted.
CCR and accessibility
