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ABSTRACTS Aviva Burnstock Head of the Department of Conservation

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ABSTRACTS Aviva Burnstock Head of the Department of Conservation 1 ABSTRACTS Aviva Burnstock Head of the Department of Conservation and Technology, The Courtauld Institute Interpreting technical and analytical evidence in historical context The presentation will introduce analytical and technical methods for characterisation of materials and techniques used for paintings, illustrated by their application for the study of selected works made in England and the Netherlands in the 16thC. The examples will illustrate the challenges posed by interpretation of the technical data, how inferences about technique are made and the limitations of the methods. Methods will include high quality technical photography, light microscopy, X-radiography, infrared imaging, preparation of samples for study of pigments, the application of paint layers and surface topography, analysis of organic materials and selected novel techniques. The significance of the technical evidence for inferring specific origins and processes of manufacture, as well as the assessment of the condition of paintings will be discussed, and how the evaluation of material changes in paintings can be used by conservators and historians. Ian Tyers Dendrochronologist Understanding the trade, production and use of wooden panels for paintings in sixteenth and seventeenth century England Using extensive data gathered for the analysis of Tudor and Jacobean panels via Dendrochronology (including over 90 panels for the NPG) this paper will explore a range of issues relating to the trade, production and usage of wooden panel for painted images in England. The trade in oak panels from the Baltic and occasional use of English oak will be explored and preliminary evidence of regarding the construction of surviving panels will be presented. The paper will also hope to set out some of the evidence for patterns in usage at this period particularly addressing evidence for the usage time after felling and questions of interpretations for date ranges. Victoria Button PhD Student V&A/RCA Conservation (AHRC Doctoral Award Student) From drawing to painting: an exploration of the function of Holbein’s portrait drawings Accurate characterisation of the materials and techniques utilised by an artist is fundamental if that artist's work is to be understood and interpreted accurately. Whilst the portrait drawings of Hans Holbein the Younger are by no means unexplored, their materials and techniques have never undergone the same systematic scientific and visual scrutiny as his oil paintings. Linking drawing, underdrawing and final painting, this paper will present an overview of research findings made as part of a PhD investigating Holbein’s drawing materials and techniques, establishing the function of his drawings in relation to the finished oils or miniatures. This research reinstates the portrait drawings as the primary source-material for investigation and has revealed new information on Holbein’s materials and techniques. A 2 comprehensive visual examination of the drawings has helped to reveal evidence of signs of their use as well as clarifying some of the sequence in which the media was laid down. Contouring defined the sitters’ features and played a pivotal role in terms of transfer to panel and as such is reflected in the underdrawings and paintings themselves. However, the contour’s role, media, sequence of application and even their authorship have been much disputed. Assessing similarities and differences, establishing patterns and evidencing signs of use of the drawings has provided more information regarding the use of the drawings and how their form relates to their function. By effectively ‘reading’ a drawing we can better understand its function and method of production. Lucy Wrapson Conservator and Research Associate, Hamilton Kerr Institute Sixteenth century East Anglian rood screen production The first fifty years of Tudor dynasty rule coincided with the highest level of production of painted rood screens in East Anglia. Screens, painted both decoratively and with the figures of saints, kings, prophets and angels, survive in large numbers in the region. The paper explores the nature and techniques of screen manufacture in East Anglia during the Tudor period, contextualising it with what came before and looking at the increasing influence that portraiture and continental print sources had on the painted decoration of screens. It also explores the destruction and alterations made to the rood, rood screen and rood loft through succeeding monarchs, until the widespread removal of lofts under Elizabeth I. Elizabeth Goldring Associate Fellow, Centre for the Study of the Renaissance, University of Warwick Tudor and Jacobean Painter-Heralds This paper will address a range of topics, including the ongoing tensions between the College of Arms and the Painter-Stainers’ Company in the sixteenth and early seventeenth centuries, together with the often fraught relations between the heralds and other artificers – such as tombmakers, glassmakers, and sculptors – whose work was perceived, on occasion, to infringe on that of the College. In addition, this talk will examine the lives and careers of selected painter-heralds, such as William Segar, who, after enjoying great success as a portrait painter to the Elizabethan elite served as Garter King of Arms (i.e. chief herald) during the reign of James I. Consideration also will be given to relations between the College of Arms and other London institutions, such as the Inns of Court (Segar, for example, forged close ties to Gray’s Inn). David Taylor Senior Curator Scottish National Portrait Gallery Gesture Recognition: Adam de Colone and the transmission of portrait types from the Low Countries and England to Scotland The Scottish-born painter Adam de Colone (fl. 1622-28), son of the Netherlandish artist Adrian Vanson, produced a number of distinctive portraits, mostly of Scottish sitters, during the reign of James VI and I. He appears to have begun practicing as a portraitist in Edinburgh before furthering his training in the Low Countries, after which time he painted in both England and Scotland. Like his father who was court painter in Edinburgh, De Colone 3 painted the king, producing two full-length portraits in London in 1623. Most of his work includes inscriptions painted with distinctive lettering and numbering, with dated works belonging to the short period between 1622 and 1628. By re-examining De Colone’s oeuvre, including unpublished portraits, this paper will consider the artist’s important role in the development of portraiture in Jacobean Scotland, through the transmission of fashionable portrait types from the Low Countries (influenced by artists such as Van Miereveld, Moreelse and Van Ravesteyn) and from Anglo- Netherlandish and possibly Scandinavian examples (Johnson, Van Somer, Mytens and Van Doort), and to what extent these compositions and postures in turn influenced the career of De Colone’s contemporary George Jamesone. Christine Slottved Kimbriel Conservator, Hamilton Kerr Institute The Fate of a Board: four paintings from Trinity College In 2009 dendrochronological analysis of 28 portraits on panel in the collection of Trinity College, Cambridge was carried out. The analysis revealed that four of the examined panels were constructed with boards originating from the same tree, and the apparent link between the four portraits was strengthened by similarities in the execution of both underdrawing and painting technique. The four panels are currently receiving conservation treatment at the Hamilton Kerr Institute. This has afforded an opportunity to examine the panels further and thereby supplement the dendrochronological findings with a better understanding of the techniques used for the panel construction, the underdrawing and the paint application. Three of the four sitters, Wolsey, Pole and Gardiner, were all influential men of their time holding important positions within the church. The research carried out during the project will hopefully lead to an identification of the fourth sitter, who is currently unknown. The aim of the research is to gain as extensive an understanding as possible of this 16th century portrait commission and the project constitutes the initial steps in a more comprehensive study of the larger group of 28 early panel portraits in the Trinity College collection. David Evett Professor of English Emeritus, Cleveland State University Spes Kneels to the Queen: A remarkable appeal for Elizabeth royal patronage Toward the end of the sixteenth century, a so-far unidentifiable English patron wrote a series of what the British Library manuscript department catalogues as “Instructions to Painters,” highly detailed programmes for five elaborate allegorical paintings. Three of them were addressed to the same painter (also unidentified). The manuscripts have survived but not, as far as is known, any of the works. One of them, probably written about 1585, describes an allegory in which Queen Elizabeth is shown threatened but not damaged by a great tempest. At the bottom of this picture, the painter was to place a group consisting of the Queen, an Italianate lady-in-waiting, and the painter himself, kneeling, labeled Spes. The author's description makes it clear that this addendum to the allegory was to be an appeal for the restoration of a royal patronage previously enjoyed but now lost. The passage raises obvious questions about the possible identity of the painter. Because of the unorthodox way in which the image was to be presented, however, it also has great technical
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