BAPCR Associate member of the
British Association of Paintings
Conservator-Restorers.
The International Institute
for Conservation of Historic
and Artistic works.
Specialist Affiliate
of the BDMA
An example of what can be achieved with the use of transparent lining. Evidence of a flamboyant signature.
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Alfred Wolmack 1877-1961
Oil on canvas 46cm x 60cm
Born in Warsaw - studied at the Royal Academy of Arts
In this case study we see the painting arrive at the studio with no stretcher or strainer. There is a tacking edge suggesting there was a stretcher or strainer at some stage.
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On the back we see an elaborate signature underlined with the same paint.
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We see a new stretcher has been provided and the transparent lining allows us to see the signature on the restored painting.
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Close up of signature on new canvas.
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Detail during restoration : As the painting is being places on a new canvas we have an opportunity to considers detail of the idiosyncrasy of the artist's style. Wolmack draws the top of the head unusually close to the top of the structure. This can suggest a close proximity of the sitter to the viewer.
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Portrait following restoration.
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