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25mc35-TE-2014_Turin, Galleria Sabauda, P. P. Rubens, Il guado, inv. 527
Turin, Galleria Sabauda, P. P. Rubens, The ford, inv. 527 - before restoration
Turin, Galleria Sabauda, P. P. Rubens, The ford, inv. 527, verso - before restoration
Turin, Galleria Sabauda, P. P. Rubens, The ford, inv. 527 - during the restoration
Turin, Galleria Sabauda, P. P. Rubens, The ford, inv. 527 - during the restoration
Turin, Galleria Sabauda, P. P. Rubens, The ford, inv. 527 - UV analysis
Turin, Galleria Sabauda, P. P. Rubens, The ford, inv. 527 - after restoration
25mc35-TE-2014_Rubens_il_guado
Restoration sheet

25mc35-TE-2014_Turin, Galleria Sabauda, P. P. Rubens, Il guado, inv. 527



Facilitated description: 

 

The ford is a painting on a wooden table. 
Painter Pieter Paul Rubens created the painting. 
The painting is kept at the Galleria Sabuada in Turin. 
The La Venaria Reale Conservation and Restoration Centre restored the painting in 2014. 
The restorers cleaned the painting of dust. 
They filled the color gaps with a layer of putty (plaster and glue). 
They painted the stucco with watercolors. 
They put a product to protect the painting from the sun's rays and dust. 
After the restorers cleaned the frame from dust.
They attacked the gilding parts that were peeling off. 
They filled the holes of the wood with stucco (plaster and glue). 
In the end they painted with watercolor the parts without gilding.

 

 

 

 

Abstract of the intervention: 

 

The canvas was the subject of conservation and restoration work on the occasion of the installation of the Galleria Sabauda at the new headquarters in the Manica Nuova of the Palazzo Reale in Turin (2014). The restoration was accompanied by a multispectral diagnostic campaign and photographic documentation to investigate some of the technical characteristics of the work.

Restoration

The intervention began with the removal of dust deposits from the frame and back of the board and the chemical cleaning of the pictorial surface. The gaps were then stuccoed, supplemented with watercolor colors and varnish veils. Finally, the extensive abrasions (sky area) were reinstated and a final protective was applied.
A cleaning was carried out on the frame. This was followed by the consolidation of the pre-aration and gilding flakes raised with adhesive injections. The purple layer was removed by chemical cleaning and the gaps were grouted and chromatically replenished with red bolus and gold leaf in the most extensive deficiencies and with watercolor colors in the minor ones.