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Unknown, Canadian
Background
Unknown, Canadian
St. Joseph
Gilded wood
H. 48.9 cm W. 20.5 cm D. 12.7 cm
NGC # 18111
This statue was carved from a single block of birch wood by an unknown sculptor
in the second half of the seventeenth century. Its provenance
is the church of Sainte-Hélène de Kamouraska.
This image shows the sculpture in its pre-treatment condition. The sculpture is on view as part of the permanent collection, in Room A101.
Click the forward arrow to see the "before and after" effect of this restoration project.
Provenance is the record of ownership of a work of art from its creation in the artist's studio to the present day.
Challenge
Following an in-depth examination it became apparent that there were three superimposed surface decorations plus a partial additional layer, which was limited to the base and feet. Due to the fact that the original water gilding was partially removed during the execution of the second decoration, it was decided to reveal the original gilding by removing all subsequent layers. The treatment was completed in 1993.
Click the forward arrow to see the "before and after" effect of this restoration project.
Gilding-
water gilding and oil gilding are the two main methods of applying gold leaf,
which are very thin sheets of hammered gold.
In water gilding the object is covered
with gesso that is polished to a smooth surface and then bole, which is also
polished. When the bole is moistened with water the gold leaf adheres to the
surface.
Once the surface dries, it can
be burnished with a hard smooth tool, often made with agate, to create a rich,
shiny surface.
For oil gilding, a mordant is used,
consisting principally of linseed oil heated with a lead drier or mixtion.
A natural resin is also incorporated. The mordant is painted on and left tacky,
when the gold leaf is applied. This surface cannot be burnished as the adhesive
holds the gold too firmly; it appears more yellow and has a reflecting surface.
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Features to Note
There are a few features to note on this painting that will help clarify and demonstrate what effect the restoration treatment had on this piece of art. The three areas to investigate are the:
Click on each area to see them in more detail.
This shows the oil gilding after surface cleaning has been done and the minor integration of losses or imperfections.
This shows the water and oil gilding of the second decoration. Worn areas in the water gilding expose blue-grey bole (clay).
This shows exposed wood at the gesso loss on the cuff of the robe.
Revealing the Details
The technique used here to reveal some of the details of the sculpture is Ultra-violet Fluorescence.
This is how the sculpture looks when photographed under ultra-violet lights. It gives an indication of how much gold is still present on the sculpture.
The blue colour indicates areas of gold. Click the forward arrow to see the results of this technique.After Treatment
You can see the evidence of the restoration efforts in the three decoration areas and the base and feet. No attempt was made to return the sculpture to a pristine condition in order to preserve signs of age.
Click the forward arrow to see the "before and after" effect of this restoration project, then click on the cuff area to see it in more detail.After Treatment
You can see the evidence of the restoration efforts in the three decoration areas and the base and feet. No attempt was made to return the sculpture to a pristine condition in order to preserve signs of age.
Click on the images to see them in more detail.Close
After Treatment
You can see the evidence of the restoration efforts in the three decoration areas and the base and feet. No attempt was made to return the sculpture to a pristine condition in order to preserve signs of age.
BoleThis shows the grey-blue bole over the gesso infill.
Close
After Treatment
You can see the evidence of the restoration efforts in the three decoration areas and the base and feet. No attempt was made to return the sculpture to a pristine condition in order to preserve signs of age.
CloseAfter Treatment
You can see the evidence of the restoration efforts in the three decoration areas and the base and feet. No attempt was made to return the sculpture to a pristine condition in order to preserve signs of age.
Gesso InfillThis shows the same area as with gesso infill.
Close
After Treatment
Bole
Gesso
Click here for 360° view.
