Self-Portrait

Joaquín Sorolla Bastida, 1885, oil painting on pine board (private collection)

The artwork had a marked yellowish appearance, due to the oxidation of a thick layer of varnish that had been applied in an earlier restoration. In addition, the support showed several vertical cracks, which had caused various pictorial losses in the piece, having been reintegrated in the past with materials that were not very respectful with it.

During the restoration process, the varnishes, the old repainting and stuccoes were removed, replacing them with new materials that were harmless and more respectful with the piece. In addition, various gaps in the pictorial surface were covered.

The restoration has helped to restore the original tones with which the author of the artwork, Joaquín Sorolla, executed each of the brushstrokes of it. It has also helped to consolidate and improve the reading of the Valencian master’s inscription. In addition, it has also contributed to a better reading and interpretation of the painting, helping to better observe the features of the portrayed, which has been identified by the CAEM researchers as Sorolla as a young man. This is one of the earliest known self-portraits of the painter.

Portrait of a boy with dog

Circle of Jan Claesz, t. 1610, oil painting on canvas (private collection)

The results obtained with this intervention have been the most spectacular of all the restorations carried out at the CAEM to date.

The work entered with a great and old repolychrome. Thanks to the use of non-invasive techniques, especially IR photography and radiography, a whole series of elements were noticed that indicated that, under the large floor tiles and the character’s red dress, a totally different work was hidden.

After that, the restorers Villalba and Díez carried out a profuse study until deciding on the solvents, carrying out the first tastings, which allowed us to begin to glimpse the wonderful brocades, the character’s original hat, the borders of aquatic birds and vegetation of the dress that she wears, the original tiles, the green curtains….

The final result was marvellous, and not only that, but it allowed to establish a very specific geography and period of execution, revealing that under that re-polychrome a marvelous painting from the Dutch Golden Age was hidden.

Saint Francis of Assisi receiving the stigmata

Francisco de Herrera, el Viejo (Sevilla, h. 1590 – Madrid, h. 1654), first third of the 17th century, 101’2 x 82’5 cm, oil on canvas

The piece entered the CAEM without a secure attribution. The stylistic elements and the spelling of the piece made it necessary to think of Francisco de Herrera el Viejo as the creator of the painting, but its coloration, and especially the remains of an old signature, seemed to tip the scales in favour of Antonio del Castillo.

However, the study of the signature, of which only three letters remained, indicated its strangeness: firstly, because it was found between the original layer of varnish of the painting and one applied in a previous intervention, and also because the existence of only these three letters raises the question of whether an attempt had been made to eliminate it or, on the contrary, an attempt was made to preserve it in the face of a conservation problem.

For this reason, the restorers Villalba and Díez began a patient study in order to recover the original coloration of the work, as well as to discern whether the remains of the signature were apocryphal or not. After carrying out the first tastings, identifying the repaints and ascertaining which solvents would be appropriate, they began their patient work to return the piece to its closest possible appearance to its original.

Thus, after recovering its original intense coloration, of which its contrasting clouds of blue and peach tones stand out, and verifying that the signature was not autograph, there was no doubt about its attribution to Herrera el Viejo.

Male portrait

European School, last third of the 18th century – first third of the 19th century, oil on canvas (private collection)

This magnificent artwork had a much more pronounced play of chiaroscuro than originally, due to the accumulation of different varnishes in the darkened parts of the painting: as a result of some selective cleanings carried out over time. In addition, there were several repaintings that did not respect the originality of the piece.

The restoration process consisted of removing the different varnishes, repainting and stucco losses located on the pictorial surface, and the reinsertion and reintegration of all these elements, using materials that are harmless, reversible and respectful for the painting. The restoration work culminated with the application of a single layer of matt aerosol varnish, which prevents unwanted reflections and helps the piece to be seen more clearly.

Thanks to the restoration, the portrait has been restored to its original tonalities, revealing nuances in the face and clothing of the sitter that were previously barely noticeable. In addition, the intertwined hands of the sitter have been restored: the hands that had been covered with a large dark repaint, the remains of which showed traces of abrasion in the pictorial surface. A painstaking study using different infrared techniques has made possible reveal what they must have originally looked like, and restore them in a plausible manner. All made with reversible materials and easily identifiable.

Sanit Joseph with Christ Child

Follower of Pedro Gutiérrez Fernández, first half of 17th century, carved wooden sculpture polychromated with gold bread (private collection)

The sculpture featured some woodworm holes, blackening of the varnish, accumulation of dirt, loss of several fingers, vertical cracks on the sides of the saint’s face, small losses in the painting layer, repaints from several interventions and loss of wood on the pedestal.

The restoration has consisted on a preventive disinfecting, cleaned of the pictorial surface, fix the polichromy and remove repaints, putty the losses and reintegrate them chromatically, recompose the volume of the pedestal, redo the fingers of Saint Joseph and finally apply a coat of varnish to protect the whole sculpture.

Thanks to the restoration, to the removal of the repaints, the original polychromy of the work can be seen and it can be seen how the saint’s cape on the back is navy blue and not black, or how the belts are enriched with silver bread and are not simply painted on green, and how the pedestal of the set was painted with a marble motif. In addition, it has also made it possible to better observe the fine decorative work of the tunics, and most importantly has strengthened its support and polychrome by improving its preservation and reading.

Girl head on the bed

Joaquín Sorolla i Bastida, 1883, oil on canvas (private collection)

The work presented a layer of rusty varnish that gave it a more dull and yellowish appearance, as well as losses of pictorial layer in the area of ​​the hood and small deformations of the canvas, most probably produced by the canvas movement derived from the lack of tension.

The restoration process has consisted of protecting and consolidating the polychromy, cleaning the frame and the back of the artwork, and later take advantage of the minimum humidity of the cleaning of the reverse, to realize a first ironing of the pictorial layer and thus correct the small undulations caused by the lack of tension. Subsequently, a superficial cleaning of the paint has been carried out to eliminate the oxidized varnish and the stucco loses have been restored, for later be able to reintegrate the polychrome lagoons.

The restoration has finally revealed the colors used by Sorolla, giving a brighter appearance to the painting. And the stabilization of the canvas with the reintegration of the small lagoons and the correction of the deformations, allow the viewer to fully enjoy the wonderful skills of the Valencian master of lights.

Mater Dolorosa (Virgin of Sorrows)

Anonymous, oil on canvas adhered to pressed cardboard, XVIII-XIX centuries (private collection)

This sweet representation of the Virgin, came to CAEM in search of a return to its original aesthetics, because it had some damage caused by the pressure exerted on the support and the passage of time.

The different layers of the work were disintegrated, causing leaks between them, in addition to unwanted movements in the pictorial film. This had resulted in wrinkles, blisters and even loss of the pictorial surface at some points. It also presented yellowing of the surface and deposition of dust.

After cleaning and cohesion of the support, we have proceeded to clean, consolidate and reintegrate the pictorial surface. This process has been carried put with reversible materials and in rigattino technique, following the center’s policy of “minimum intervention and maximum reversibility”. There has also been a reintegration with gold leaf in those affected areas where it has corresponded. Finally, a protective layer consisting of a transparent, elastic and reversible varnish has been applied, finally returning the aesthetic dignity to the work.

Mystic Marriage of Saint Catherine of Alexandria and Saint Sebastian

Italian school following Correggio’s model, oil on canvas, late XVII^th century – early XVIII^th century

In its arrival at the CAEM facilities, “Mystic Marriage of Saint Catherine and Saint Sebastian” suffered from a very poor state of conservation which hindered the good work guessed by our experts. Several interventions had damaged and altered the pictorial layer, the manipulation of the frame led to dangerous deformations and the painting’s original size had been modified with the addition of two pieces of canvas, both in the upper and lower sides. This, along other damages caused by an inadequate preservation, made it difficult to observe the work as it originally was conceived.

During the restoration process, a protection of the policromy’s perimeter was carried out, aiming to prevent a bigger number of detachments. The added canvases were removed as well as the traces of dirt, using a pH 7 neutral aqueous solution. Once cleaned and restored its original size, the canvas was adapted to a tailor-made frame and dammar varnish was applied before the pictorial reintegration process, one of the most complex procedures in this restoration work.

The differences between the work that arrived at CAEM and its restored version are plain to see: after its restoration, “Mystic Marriage of Saint Catherine of Alexandria and Saint Sebastian” has recovered not only its chromatic richness but also every details of the outstanding original work, which were lost during poor interventions, deforming some of the characters and altering the original layout. Fortunately, the work has unveiled a fantastic piece of art that undoubtedly reflects the quality standards of the Italian school.

Virgin of Milk (Virgo Lactans)

Circle very close to Joos van Cleve, oil on panel oak, ca. 1525 (private collection)

CAEM received this beautiful painting in a yellowish color due to the oxidized varnish. It showed small losses, especially in the lower part of the work, as well as some tiny repaint that diminished the aesthetic comprehension of this genuinely Flemish work. In addition, due to a poor framing, the work presented small remnants of glitter in its perimeter. After diluent tests, the repaints were removed, with the surprise of discovering a fur coat in the cuff in the right arm of the Virgin, where previously a simple sleeve of red color has been painted. This detail highlights the Flemish origin of the work and its unequivocal closeness to the master Joos van Cleve (active in Antwerp between 1511 and 1540), creator of this fortunate iconographic model.

After the plasterwork with natural materials in imitating the original painting, we proceeded to reintegrate the missing of the work with watercolors (reversible in water) through the delicate and very well resolved technique of rigattino.

When comparing the work with its previous state to the restoration, we can only congratulate ourselves for the results obtained, which not only have made it possible to better define the attribution of this work, but to restore its original splendor. In turn, this delicate intervention has brought new technical and stylistic knowledge on a sixteenth-century oak table that now manifests itself as a Flemish piece of exceptional quality.

Ecce Homo

Last third of the 17th century, oil on canvas (private collection)

The painting has been restored at CAEM by expert hands with extensive experience in “La Luz de la Imágenes”.

Polychrome wood carving of the Virgin of the Immaculate Conception

The CAEM received this carving of the Virgin with the dragon and the moon under her feet in poor conditions. Dirtiness everywhere, roasted varnish coating, one crack on the face polychromy and some of the crown ornaments  were missing.

The restoration process consisted of the polychromy fixing that might break down and the removal of accumulated dirtiness and rusted varnish. The crown has also been restored with a complete reintegration of the missing parts.

The restoration has revealed or shown up the gold finishes, the floral design and other aspects of the Virgin cape. The original tone of hands and face has been recovered and the crown with a good recuperation of the missing parts looks majestic on the Virgin’s head.

Portrait of Fernando VI child

Jean Ranc, h. 1725, oil on canvas (private collection)

The treatment process consisted of the cleaning of the reverse, a detailed consolidation of the painting film for the future removal of dirtiness and varnish , the removal of repaints, a volumetric reintegration with stucco, the use of “rigattino” technique for chromatic reintegration and the application of a final protective varnish with ultraviolet filter.

Assumption of Mary

Anonymous, 17th century, Oil on copper (private collection)

The treatment process consisted of a detailed consolidation of the painting film, the cleaning of the reverse, the application of a protective coat, the removal of varnishes and repaints, the use of “rigattino” technique for painting reintegration and the application of a final protective varnish.

Virgin of Montserrat

College Mare de Déu de Montserrat in Borges Blanques

Works have been focused on the consolidation of different disjoined strata, cleaning of gold surface, reintegration of gold finish gaps, restitution of the patina following historical processes and a final and protective gold layer.

Tusk of carved ivory

Chinese School, beginning 20th century. 50 cm x 4,7 cm. (Particular collection)

At its arrival to CAEM, the piece was in poor condition and lacked conservation. This was characterised by abundant and numerous fractures, deformations and losses of matter. The pedestal, on which the piece was exposed, also presented such imperfections as: small localised losses of the pictorial cap and a break in the small moulding which holds the tusk. The restoration consisted of a superficial cleaning, affixing the fragments which had become detached of the original position, repairing the cracks and fissures and, creating small points of anchorage using minimal quantity of adhesive; returning the aesthetic integrity and correct legibility to the piece of art.

Restoration of the Romanesque southwest Gate of the church of Sant Martí in Lleida

The gate, a stunning example of the Aragonian Romanesque carving is now fully restored.

The intervention was carried out in phases. The gate had numerous common sandstone pathologies (deconsolidation of the stone, alveolarization, sandification, heavy dirt, and loss of some stone elements). After preliminary analysis, the need for cleaning the stone, –which had acquired a black patina– was determined. This process was executed by laser projection, a technology that attacks the black patina but respects the noble patina of aged stone.

The nearly 300 pieces that form the gate were consolidated with natural materials and minerals, to ensure the stability of sandstone. Old shabby mortars were removed, as well as concrete additions, and they all were replaced by sand and lime mortar. To protect the outer archivolt a curved plate was placed, in order to prevent rainwater infiltration.

One of the columns, which was missing, was replaced. The intervention has been carried out jointly between the CAEM and the Centre de Restauració Bens Mobles de Catalunya (CRBMC).

Restoration of the Academia Mariana Chapel in Lleida

The altarpiece from 1870 is one of the works of Hermenegild Jou from LleidaThe Art Centre of the Modern Period (CAEM) has managed and controlled the restoration work carried out in the White Virgin Chapel altarpiece. This plan of action is within the works started on 2015 with the restoration of the major altarpiece in the church of Santa Maria de Gracia in la Granadella, with the purpose to restore in situ the art heritage.

The altarpiece from 1870 is one of the works of Hermenegild Jou from Lleida; however, some years earlier in 1867 Maximià Sala from Barcelona performed the virgin sculpture. It’s one of the most important neogothic ensemble in Lleida. It was destroyed in 1936 and some years later, in 1941, the Borràs family reconstructed it.

The cleaning and restoration to its original state has been done after dismantling the parts and recovering gold and original polycromy. Additionally, those parts where pieces were missing have been rebuilt and the pictorial layer has been consolidated. The slender figures corresponding to Saint Anna, Saint Joaquim, Saint Josep and the child, Saint Elisabet and some wood sculptures with an elegant greyish polycromy have received a special treatment.

You can find more information about Acadèmia Mariana in the next link: More information Academia Mariana

Figure of the Immaculate Conception

Attributed to José Risueño. Oil on canvas. 34 x 24 cm. 18th century. (Private collection)

This Immaculate Conception arrived at the CAEM with significant losses on the paint layer and the textile support, with active woodworm in the frame and support, numerous repaints and several layers of old varnish. The restoration process consisted of a repair to the textile support, the consolidation of the paint layer, the cleaning of the rear part the elimination of insects, the cleaning of the front part, the elimination of varnish and layers of added coats of paint, the restoration of the body using stucco, colour restoration and the application of a protective varnish with a UV filter.

The Head of the Holy Crucifix of the Former Parish Church of Saint Mary Magdalene

Anonymous. Carved wood, with stucco and painted. 20 x 17 x 19 cm. 14th-15th century. The Parish of Our Lady of the Carmen (Lleida)

This is the only remaining piece that was recovered from a larger crucifix, which was destroyed during the Civil War, which had been venerated in the Church of Saint Mary Magdalene in Lleida since 1589. The head had several pathological problems; an infestation of fungi and woodworm, the extensive blackening of the paint, dirt and up to four added layers paint. Restoration work consisted in a palliative treatment for the support and surface cleaning.

Main Altarpiece from the Church of Saint Mary of Grace of La Granadella

7 x 12 m. Carved wood, plaster and stucco. 20th century. (Copy of the previous altarpiece lost in the Civil War).

This altarpiece from the 1940s was designed to be painted with marbled and gold effects. In 1991 it was painted for the first time after years of being left stuccoed and unpainted. This intervention, although highly original, did not follow historically stylistic criteria, and the materials chosen were altered and aged. Our work consisted in a total restoration of the altarpiece to attain a new finish with gold and silver leaf and marbled bichromatic effects, inspired in images from photographs from before 1936.

The Faustino Legacy Archaeological Collection

Items of unknown origin, from diverse eras, between the 5,000 B.C. and the 2nd Century. (Anna Municipal Council, Valencia)

This collection of ceramic items was donated by the Faustino Family to the Royal Academy of Valencian Culture and currently forms part of collections of the Archaeological and Ethnological Museum of Anna, (Valencia) which belongs to the Municipal Council of Anna. The items required different types of treatment, in accordance with their state of conservation, the type of clay used, their physical and chemical characteristics, etc.

Crucifixion

Anonymous. 90 x 49 x 17 cm. Polychrome wooden carving. XIX century (Private collection)

This carving arrived to our Center with a major break affecting the whole piece. The arms and the crossbeam had been separated from the body and the vertical shaft, respectively. Furthermore, the work presented a severe case of woodworm, which had weakened its structural strength. Moreover, a cleaning of ensemble was required. The figure was assembled, stuccoed, and retouched chromatically. We also made a surface cleaning to recover the original colour tones.

The Frame of the Child of the Thorn

(Name of the frame’s maker). Made by the Zurbarán workshop. Carved wood with stucco and gilded with fine gold. 98x 82 cm. 17th century. (Private collection).

This frame with scrollwork is an original example of Andalusian Baroque style. It was badly damaged, very dirty, and areas of stucco and gold were missing, in addition to two breakages on the support frame, which had resulted in the loss of some ornamental features. In addition to a general cleaning of the gold decoration, we made specific restorations to the stucco and gold leaf, in addition to three-dimensional reconstructions that helped restore it to its original glory.

A Bouquet of Roses

Attributed to Pierre-Auguste Renoir 33 x 24 cm. oil on canvas. Circa 1900. (Private collection).

This work presented abundant layers of varnish that had aged, altering the appearance of the colours. This caused a significant distortion with respect to the colour values of this piece. Controlled cleaning of the varnish was carried out in the Institution of Heritage Restoration of the Polytechnic University of Valencia (http://www.irp.webs.upv.es/), and only the final layers were removed, which notably improved the appearance of this work

Casket

Carved wood. 49 x 31 x 26 cm. Late 16th century, early 17th century.

This historical casket came to us with structural losses, an active infestation of woodworm and severe breakages as a result of a weakened support. The surface was also covered in a large amount of dirt, which had built up over the years. Our work consisted in eliminating the problem of the insects, consolidating the support, gluing fragments to it and finally, cleaning the surface while respecting the original wood tone. Although some of the original metalwork had been replaced over the years, it was decided to keep these features, without substituting any of them.

The Adoration of the Magi

Follower of Willem Key. 78 x 103.5 cm. Oil on board. Cerca 1580-1600 (Private collection)

This is a piece that reached us with a major breakage that affected the upper canvas in a cross-section and which partially affected the lower part of the canvas; the result of a fall, which had severely affected its formal unity. The piece also showed specific losses on the preparation coat. It was re-assembled, glued, stuccoed and its colour restored.

The Virgin Maria of Grenyana

Multi-coloured wood carving, work of Jaume Gort Farré (1919-1966). Restored by the Neighbourhood Association of the Area of Grenyana, Lleida in 2014.

In order to attain the highest level of guaranteed success in research into unknown or virtually-unknown works of art, the CAEM cooperates with a large group of national and international experts who work in historical and artistic aspects, as well as in other branches of knowledge that complement and enrich research, to help us in the rigorous study works of art in their entirety.