Portrait of a shepherd original painting Albert Baure
Shepherd's portrait painted with oil paints on canvas.
Painted by the French painter Albert Baure (1864 - 1930). The painter is listed by auction.
Painting in a golden frame made by Cadres E Bouche in Chabreloche (Puy-de-Dome). Original label and signature of the frame's performer on the back.
Painting dated to the first half of the 20th century.
In the foreground, a shepherd supported by a stick. Please note his penetrating gaze. In the background, sheep and mountain peaks.
Signature in the lower right corner: A. Baure.
Picture after professional maintenance, with full documentation of repair work.
Dimensions with frame:
Width: 63 cm
Height: 72 cm
STATE OF PRESERVATION AND CAUSES OF DAMAGE
The picture’s surface was dirty and the color of the picture changed to darker.
There were small cavities in the paint layer with mortar.
The most damaged was the loom, which needed to be reconstructed, and the frame. The structure of wood was strongly weakened by insects feeding in it.
THE PURPOSE AND THE ESTABLISHMENT OF CONSERVATION AND RESTORATION
The main aim of the works was to restore the image to its good technical condition, as well as its aesthetic and artistic qualities.
PROGRAMME OF CONSERVATION WORKS
Examination, taking photographs.
Preliminary dry cleaning from dust and dirt.
Straightening of the image.
Application of a protective layer of retoucher's varnish on the face (ladies' varnish, Talens, the Netherlands).
Replenishment of mortar losses and development of an appropriate surface texture of putties (canvas acrylic mortar, Meimeri, Italy).
Applying retoucher's vernier under scoring (ladies' varnish, Talens, Holland).
Performing scoring (resin-oil paints, Meimeri, Italy).
The application of the final vernisser (ladies' varnish, Talens, the Netherlands).
Frame disinfection (Hylotox, Poland).
Frame impregnation (Paraloid B-82).
Replenishment of wood losses (Aralditte, epoxy resin).
Gilding of the frame (mineral gold).
Documentation of the course of conservation works.
THE COURSE OF MAINTENANCE WORK
After bringing the image to the studio, photographs were taken to document the state of behaviour before conservation. The painting and the frame were cleaned from dirt.
The front of the image was cleaned from surface dirt. The image was straightened by gently moistening the canvas and then drying it under load on the table top. The face was covered with retouching varnish in order to protect the surface of the original. Places of mortar defects were supplemented with acrylic putty. After filling in the mortar cavities, the cements were ground and their texture was worked out to match the texture of the original. The canvas was stretched by breaking gently the wedges in the loom. The painting was marked out using resin-oil paints. After the scoring dried up, the paint layer was protected with acrylic final varnish.
The frame was disinsected and impregnated. Numerous cavities caused by insects were filled in. The putty was polished and the primer was applied. Gilding was done using mineral gold. During conservation, photographs documenting the course of work were taken.
The image should only be cleaned dry of dust, preferably with a feather brush or soft brush. It is advisable to control the tension of the canvas.
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