ACE Conservators Rhonda Wozniak, objects conservator, and Ana Alba, paintings conservator, joined forces to complete the conservation treatment of the Mother of Kazan, a mid-nineteenth century Russian icon. This treatment highlights the benefits of collaboration in our studio, due to the often multi-media nature and complex construction of works of art.
Construction: The icon consists of a wooden support, onto which decorative silver, fine metalwork, and enamel has been applied. The panel appears to be traditionally constructed and primed with a white gesso, a mixture of rabbit skin glue and calcium carbonate, in the areas of the painted features. The facial features and hand were then applied over areas of gesso in thin layers of oil paint. The remainder of the panel is concealed beneath a revetment of decorative silver, brass and enamel work. In order for the metal work to be safely cleaned, the revetment was removed for treatment by Rhonda, leaving the panel and painted portions to be treated by Ana.
Before Treatment image of the Mother of Kazan
After removal of the silver, brass, and enamel revetment, revealing the surface of the wooden panel, gesso, and painted portions of the icon
The revetment was found to be a combination of three different layers. The image below illustrates the order in which the metalwork was layered. The decorative outer perimeter consists of floral relief repousse/chasing and cloisonné enamel work on raised halos and corners. The robes of the figures are comprised of fine brass filigree with granular decoration (center). The filigree is folded to mimic folds in the subject’s cloths and lends a three dimensional appearance to the figures.
A layer of crimped aluminum foil, cut to the shape of the Mother and Child, was found beneath the filigree layer. The foil is visible through voids of the filigree. The foil layer is believed to be a replacement for a possible tarnished silver layer.
Red/brown velvet on the reverse and sides of the icon support.
Condition: The panel was in generally good condition and had remained planar over time. The painted portion was in stable condition aside from a Y-shaped crack in the area of the mother’s face. There are also fine cracks in the horizontal direction across the mother’s neck and the child’s neck areas. A conservative cleaning test indicated a heavy layer of tar and nicotine on the surface of the metalwork and paint layers. There was also a heavy buildup of dust and old polish residues in the interstices of the metalwork and a heavy tarnish layer on all areas of silver.
The reverse of the panel is concealed behind an original thin layer of red/brown velvet. The velvet layer is exceptionally fragile and exhibits compound tearing along the top edge.
Treatment:
Dust and polish residue, on the recto and verso of the revetment, were reduced with soft natural bristle brushes into a HEPA filtration vacuum. Based on solubility tests, it was necessary to first reduce heavy tar and nicotine deposits on the solid metal surfaces with cotton swabs lightly dampened in an alcohol-based solution. This also served to minimally reduce tarnish. At heavier tarnish deposits, a light slurry of precipitated calcium carbonate was used. Residue was then cleared with swabs dampened in alcohol, and soft bristle brushes/HEPA vacuum to ensure removal from interstices. The images below feature the bottom and top edges during treatment.
Painting conservator, Ana Alba, inpainting areas of loss.
The cracks in the gesso on the panel support were stabilized using locally applied isinglass. The surface was then dusted using a soft brush and cosmetic sponges to entrap the heavy dirt layer. The nicotine and tar layers were reduced using an aqueous solution. The discolored varnish was further reduced using a solvent solution without affecting the paint layer beneath.
Conservation grade, stable and reversible materials were chosen to fill and inpaint the wide cracks on the surface of the painting. In order to protect the fragile velvet layer with minimal intervention, a woven silk conservation fabric (Crepeline) was used as a loose-lining fabric (see below). The silk was wrapped around the reverse and sides. The fabric’s only points of attachment are on the front surface of the panel, and avoids the use of adhesives on the fragile material. The silk offers support and protection to the velvet while allowing it to remain visible.
After the conservation of painted portions were complete, the revetment was reattached to the surface of the panel. Various options for replacing the aluminum foil layer were explored with the client. The client chose to replace the aluminum foil with the same. In lieu of a thin sheet of foil, however, a thicker sheet aluminum was sourced that would not crimp and/or tear. The metal was cut to fit, and the edges of the underside that would be next to the painted surface were smoothed to prevent abrasion.
The treatment of the icon led to the appreciation of the masterful use of silver, enamel and filigree by the conservators and owner alike. The conservation highlights the beauty of the object and skill of the artist while maintaining its patina and does not compromise the intended visual integrity. Constant communication between the conservators involved allowed a certain balance to be maintained between the layers, integral to the treatment of such a unique and complicated work of art.