Overall Condition
GoodNotes
Surveyed By Katherine Rogers in 1998. Very Poor Conditon. Bloom Could Be Resin Or Mold. Canvas Badly Detached (Only Still Connected on Right) Sever Undulations and Planer Distortions. Recommends Additional Consulations Before Approaching. See File. Estimates $5,000-6000 To Line, Restore, Consolidate and Install New Stretchers
Accretion/Mold growth on gront of painting along PL side from Juliet to maid down to stool and lower portion of dress. Occurs on Romeo along face and hair, especially heavy at throat, cape/draperies, and shoes.Overall Condition
GoodNotes
Final Report
1.35mm color slides (Kodak Ektachrome 160T) were taken before and after treatment.
2. Areas of severe flaking were consolidated with gelatin and locally faced with wet strength tissue.
3. The painting was removed from the stretcher and the canvas reverse was cleaned with a vacuum and dry brush. Old patches and residual adhevise were mechanically removed with a scalpel. THe tacking edges were flattened under damp blotters and weight.
4. Strips of canvas were cut and attached to the tacking edges. THe painting was installed onto a work strainer.
5. THe painting was placed over damp blotter sheets and Hollytex {1} and humidified on the vacuum hot table. During humidification treatment, each edge was gradually pulled out to " square" the image area as much as possible.
6. Warm BEVA(R) 371 {2} was applied to the reverse of the canvas and the painting was placed on the hot table to confirm infusion.
7. French lining fabric {3} was stretched onto a work strainer, sized with BEVA(R) D-8 {4}, and prepared with BEVA 371. THe Painting was attached to the lining fabric on the vacuum hot table.
8. The lined painting was re-attached to the stretcher with stainless steel staples.
9. The surface of the painting was cleaned with Storr's solution {5} rinsed with deionized water and acetone (3:1) followed by a mixture of petroleum benzine and diacetone alcohol (3:1).
10. An isolating varnish of 12% Acryloid B-72 {6} ( in xylenes, diacetone alcohol , and petroleum benzine ) was spray-applied to the painting surface.
11. Losses were filled with a mixture of Modostuc
{7}: Latexspakel {8} : Acrylic gesso {9} (1:1:1).
12. Fills and surface anomalies were toned with Gamblin Conservation Colors {10}.
13. A final varnish of 15% Regalrez 1094{11} in petroleum benzine (with 1% beeswax and 2% Tinuvin 292 {12} added was spray applied.
14. A protective Coroplast(R) {13} backing board was attached to the stretcher reverse.Notes
Supports:
The secondary support is a five-member wood strecher (horizontal crossbar) with butted corners and open mortise and tenon joins. All ten keys are present. Wax has been aplied to the stretcher. It appears original to the painting. The primary support is a medium weight; fine weave canvas, estimated to be linen. It remains attached to the stretcher with ferrous tacks along the bottom and right edges. Dirt and dust have accumulated on the canvas reverse. Two old patches are also noted. Wood strips, 1/2" thick, have been nailed into the sides of the stretcher to better fit the painting into its frame (dimension of painting with strips: 70" by 50.5"). Like the stretcher, they too have been waxed. The stretcher is adequate to support the painting. No treatment is necessary. The canvas is in poor condition. The yarns are slightly desiccated, limiting its ability to adequately support the paint. The canvas has been torn away along the left and top edges and has shrunk approximately 1/4"-1/2" along those sides. In many areas where the canvas has not torn away from the tacks, it has torn at the fold edge. (Note: the previous conservator, Joanne Baryy, edge-lined the top left edge with polyester fabric and BEVA film to prevent the canvas from falling off of the stretcher). Due in part to the poor canvas tension, numerous edge draws and other distortions exist throughout the picture. Two old small tears are noted in Juliet's chin and Romeo's right hip (H: 48" by W: 20", H:30" by W:22"), measurements taken from teh bottom and left edge of the stretcher).
Ground/Paint:
An off-white, artist applied ground sits on top of hte canvas. The paint has the characteristics of oil. The artist painted in thin even layers, utilizing slightly thicker paint in some of the highlights. The paint and ground are in very poor condition. The most significant problem is that both layers have cracked throughout the picture and is actively flaking off of the canvas. In some areas, particularly along the left edge, the paint presently cannont be consolidated and set back down due to the canvas shrinkage. The canvas will need to be humidified and gently pulled out in order to allow the flaking paint to be effectively consolidated. The most pronounced areas of flaking are the woman in the background (left edge), Juliet's dress, Romeo's face, neck, and proper left arm. Paint loss is randomly throughout these flaking areas and also along the two tears. Poor artist's technique has caused traction crackle in passages like Romeo's left arm.
Coatings:
A thick layer of grim and an old varnish sit on top of the paint film. Ultraviolet-A examination indicated that it is a natural resin that was unevenly applied by brush. Overall it has darkened over time and blanched in selective areas of the picture, limiting color contrast and saturation along with disfiguring the picture. The grim layer further exacerbates these problems. Both should be removed.