Treatment of an Oleograph

This colour oleograph based on an historical genre painting was printed in 1880. Oleography was invented in the 19th-century as a way of reproducing popular paintings for public consumption and display in the home. The technique is a lithographic process involving between 15 and 20 plates. Some oleographs also have built up or embossed areas to imitate brushstrokes of paint, but this example does not. In order to emulate the original painting, the print is mounted on a stretched canvas and the surface is varnished.

This example is framed with a simple original frame as well as an additional more elaborate external frame, both of which appear to have been gilded and overpainted. This repainting appears to have happened while the object was framed, as strokes of this colour can be found on the surface of the oleograph.

Brief Condition Report

The oleograph and the frame were dirty with black dust, spider webs, and lint, particularly in the crevasses at the join of framed oleograph and external frame and beneath the strainers. The oleograph had suffered multiple impacts and abrasions from the front and back, which stretched the canvas, causing deformations and a slackening of the canvas, as well as the shattering of the aged and degraded paper attached to the recto. A number of older fractures in the paper as well as areas of old retouching appear to have been covered with a reapplication of varnish. The varnish at the centre of the image is more yellowed than around the edges, and marks of the brush used to apply the varnish are more easily visible here. The reason for this phenomenon is not clearly evident, however, this could potentially indicate that a second application of varnish, potentially a pigmented varnish, was applied while the work was framed. The original varnish was unlikely to have been pigmented, as as the original and this printed reproduction were made within a few years of each other (original painted in 1878, oleograph printed in 1880). However, it is possible that this oleograph was restorer at a later date, when retouching was also performed. Pigmented varnishes were common in the 19th century, as this created an illusion of age and therefore imbued gravitas and authenticity to an artwork. However, without technical analysis, it is not possible to say if the yellowing of the varnish in the central area of the image is due to pigmentation, natural ageing, or potentially exposure to pollutants like nicotine.

Brief Treatment Report

The object was unframed from the external frame, but it was observed that the inner frame was securely attached to the object and it was considered far too invasive and dangerous for the object to remove it. The object was cleaned front and back before proceeding with the consolidation of flaking paper with ethyl hydroxyethyl cellulose. The afflicted areas were locally pressed and dried. After consolidation, the surface was cleaned using saliva and a cotton swab. The varnish was not removed because it is considered authentic to the object, and there is a risk that the printed surface could be damaged upon removal of the varnish. Once cleaned, areas of surface loss were reintegrated through retouching with watercolour. The dark abrasion in the lower middle section was covered with acrylic paint and gloss was added by applying gum arabic. Deformations were laid flat by local humidification and pressing.

For further protection from impact and to dampen vibrations that might be harmful to the object, a removable backing board was made using polyester wadding and honeycomb board.  The stamp on the back of the canvas was photographed, printed out, and adhered to the new backing board so it is readily visible.