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Français
La vision de l'Apocalypse de saint Jean à Patmos
Le tableau est peint sur un panneau préparé renforcé par différents taquets. On constate des défauts dans le bois. Le panneau est inséré dans le cadre. Le support est stable.
A l'oeil nu, on constate plusieurs restaurations réparties sur l'ensemble de la composition ayant viré. On constate d'anciennes fentes verticales ayant fait l'objet de restaurations. Le tableau est encrassé, jauni.
A l'UV, on constate une restauration plus importante le long du bord supérieur. On constate les restaurations le long des fentes verticales susmentionnées. Le tableau est sous un vernis vert épais, encrassé.
La matière reste stable.
Dans un cadre en bois sculpté, peint (approx. 82 x 85 cm.).
Le baptême du Christ
Le tableau est peint sur un panneau préparé renforcé par différents taquets. On constate des défauts dans le bois. Le panneau est inséré dans le cadre. Le support est stable.
A l'oeil nu, on constate des restaurations dans le ciel ayant viré. On constate d'anciennes fentes verticales au panneau et des restaurations associées au niveau de saint Jean Baptiste et de l'ange à droite. Le tableau est encrassé, jauni, et pourrait bénéficier d'un nettoyage.
A l'UV, on constate des traces d'anciennes restaurations le long des fentes susmentionnées ainsi que dans les carnations des figures. Le tableau est sous un vernis vert épais, encrassé, masquant les campagnes de restauration antérieures bien que de vieilles restaurations soient visibles dans les carnations et les drapés.
La matière reste stable.
Dans un cadre en bois sculpté, peint (approx. 82 x 85 cm.).
English
Saint John of Patmos‘ Vision of the Apocalypse
The painting is executed on prepared panel, which is supported to the reverse by twelve rectangular joints and one support baton that runs vertically the length of the panel to the left, when seen from the reverse. There are some minor cracks to the lower and upper edges and small holes, where previous supports were attached. These are not visible to the recto. The panel remains stable.
Examination in natural light shows scattered retouchings that have discoloured over time. Corresponding with the various supports to the reverse, restored vertical cracks can be seen. The varnish has yellowed and carries some dirt.
Examination under UV light reveals restoration along the upper edge of the composition, as well as confirming the aforementioned restorations and retouchings. The paint remains stable.
In a carved and painted wooden frame (approx. 82 x 85 cm.)
The Baptism of Christ
The painting is executed on prepared panel, which is supported to the reverse by seven rectangular joints. There are some minor cracks to the lower and upper edges and small holes, where previous supports were attached. These are not visible to the recto. The panel remains stable.
In natural light some retouching to the sky can be seen, which has discoloured over time. Running vertically through John the Baptist is a panel crack with associated restoration. The varnish has yellowed and carries some dirt. Both paintings would benefit from a light clean.
Examination in UV light confirms the aforementioned restoration. It reveals further retouching in the flesh tones. The thickness of the varnish precludes a more in depth examination, though we can perceive an older campaign of restoration in the flesh tones and drapery. The paint remains stable.
In a carved and painted wooden frame (approx. 82 x 85 cm.)
Print Report
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