- Gardner is represented in many major collections nationwide, most notably Abbott Hall Art Gallery in Kendal
- Mrs Priscilla Anne Marton, née Edwards, was the wife of Reverend Oliver Marton, heir to Capernwray Hall, Lancaster. They had two sons: Oliver and George. They were a fashionable and wealthy couple who were great patrons of the arts
- 1788 . The letter details the transaction between Gardner and the Martons on buying the portrait. Included in the letter are the cost of the portrait, frame and glass, and the date—2nd September
- Gouache inherently has a low ratio by volume of gum binder to pigment, which further increases the tendency to flake. In this case the flaking was further exacerbated by the addition of chalk
- It was also clear, from analysing cross-sections of the paint film, that delamination was occurring between each layer of colour and not at the interface between pigment and support
- 1975 . A Christie's auction catalogue dated 4th November contains an illustration of the portrait before the overpaint had been added, so the additions must have been made after 1975
- Microscopy revealed the support fibres to be a mixture of linen and cotton.
- Personal communication, Dr. R. H. Reed, Chemical Life Sciences Department, University of Northumbria. Dr. Reed has stated that ethanol will remove approximately 60% of the moisture content from the mould spores. Although there does remain a small chance that the mould could be re-hydrated in humid conditions, survival and procreation chances are slim
- Aspergillus. Examination indicated a form of the genera
- Aspergillus niger. Examination indicated
- Change in the gouache matt surface was of great concern. Excess consolidant can produce a smooth surface and specular reflectance at its surface will lead to the paint appearing glossy. Conversely, gouache is porous and contains many voids. A consolidant may fill these voids resulting in the darkening or saturation of the pigment
- Lead white burnt umber prussian blue, yellow ochre and lamp black
- Fisons climate controlled, asbestos, thermal oven
- The viscosity of this solution at room temperature is 4000 centipoises.
- 1988 . The Paper Conservator , 12 : 11 – 27 . Editor's note: ‘Tideline’ is a term loosely used to denote the coloured line which sometimes becomes visible at the solvent front when a solvent is applied locally to paper and other materials. The colouration may actually be pigment, dye or existing soluble component which has migrated; or soluble, previously uncoloured substances which have become oxidized in situ. See V. Daniels, The discolouration of paper on ageing, 93–100; E. Eusman, ‘Tideline formation in paper objects: Cellulose degradation at the wet/dry boundary’, Conservation Research 1995 (Washington DC: National gallery of Art, 1995)
- Hansen , E. , Lowinger , R. and Sadoff , E. 1993 . ‘Consolidation of porous paint in a vapour-saturated atmosphere—a technique for minimising changes in the appearance of powdery-matte paint’ . Journal of the American Institute for Conservation , 32 : 1 – 14 .
- The frame was cushioned with felt and silicone release paper.
- It was decided to refrain from taking the pH of the painting prior to treatment due to the sensitivity of the media and the possibility of tideline formation. A hot extraction of the canvas however, measured PH4.2 indicating similar low pH values of the painting too
- A generous layer of paste was not only required to ensure a strong overall ‘nap’ bond with the thick primary support, but also to compensate for loss of adhesive which inevitably occurs during suction treatment
- Atlantis Heritage woodfree paper—a high alpha cellulose, pH neutral, heavy weight cartridge, sold on the roll or in individual sheets
The Paper Conservator
Volume 22, 1998 - Issue 1