Help us conserve Canaletto

While we are not able to open at the moment, we wanted to share the exciting news that, in late February, the two Canaletto paintings that were conserved thanks to the support of Art Happens donors returned to the walls of the Wallace Collection. Thanks to your generosity, the paintings and their gilded frames have been restored to their former glory and we look forward to welcoming you at the Wallace Collection to see them in real life. We hope that you will be as thrilled as the curators with the results of this important project, which proved more difficult than originally anticipated.

Initial technical analyses revealed that Riva degli Schiavoni (P509) had a tear that had been filled and retouched during a previous conservation treatment. However, the retouching extended far beyond the initial damage, covering a large area of the original paint. This painting also suffered from the accumulation of thick deposits of varnish alongside darker residues of a previous varnish coating. Molo with Santa Maria della Salute (P516), on the other hand, was in better condition, but the thick and discoloured varnish contributed to a patchy appearance, the loss of the finer details and depth.

Following initial analyses and discussion between the conservators and curators in charge of the project, the varnish, which had a fine craquelure pattern distinct from that of the paint and looked uneven, partly because of surface dirt, was removed.

The varnish removal significantly improved the tonality of both paintings. However, in the case of Riva degli Schiavoni, the sky still appeared very discoloured. Its patchy appearance prompted further examination under UV, revealing a thin, slightly discoloured layer on the entire surface of the painting. Different solutions had to be used to succeed in the removal of this layer without any damage to the original paint.

The removal of the varnish revealed multiple campaigns of retouching and overpaint. They varied in surface texture, colour and solubility therefore their removal was decided on an ad hoc basis.

In both canvases, previous retouches that extended onto the surrounding original undamaged paint layer were found to have been executed in oil. As the overpaint did not react to solvents, it was agreed to remove the paint by mechanical actions, under a microscope, using a small scalpel and a gentle scraping motion.

Once the removal of the old varnish and overpaint was completed, the paintings were varnished for filling and retouching. This method ensures that future conservation treatments will not affect the original 18th-century paint.

Both paintings needed reconstruction on the bottom section of the canvases. The paintings had been extended by a later hand by approximately 1 cm, presumably to fit a certain frame. Overtime, this section had discoloured and had to be reconstructed to allow for adequate presentation of the paintings in their historic frame. The reconstruction aimed to extend the visible elements in the lower part of the painting in a neutral manner and elements such as irregularities of the stone surfaces and the wave pattern of the water were not imitated.

Moreover, the uncovered original paint layer was of a more vibrant, deep blue colour than its surroundings. This is presumably because the original paint layer was protected from both sunlight and abrasion caused by previous cleaning campaigns. To reintegrate these areas, transparent glazes of lean paint were used to adjust the vibrant blue hue.

Before the final spray of varnish was applied, thin glazes of paint were used to tone down some minor abrasion. This was kept to a minimum, as in many cases allowing the red ground to show through could have been an intentional aesthetic decision by the artist.

The final spray of varnish evened out the discrepancies in gloss between the original paint and the retouching, whilst also bringing the final appearance of the varnish to a slightly matter finish. Once conservation treatment was completed, the paintings were framed into a simple wooden travel frame for transportation back to the Wallace Collection. The Wallace Collection conservation and curatorial teams worked together to reunite the canvases with their historic frames. They are now installed in the galleries where the artist’s skilful use of detail and mastery of architecture can once again be enjoyed by all.

The Wallace Collection is delighted to report that the conservation treatment of our beloved views of the Doge Palace is well underway. As you can see from these photographs taken in the conservation studio, the old varnish has been removed.

Close examination of the paintings has revealed the use of gridded lines, made with a straightedge ruler by the artist as he created a realistic sense of perspective in the architecture.

The paintings were examined under normal, raking, and ultraviolet lights. X-radiography was also carried out.

HKI conservators are now completing conservation treatment of the paintings. The paintings have been cleaned gently and the next step is to remove old retouching that has become discoloured with time. The paintings will be varnished to ensure that the paint surface is protected and saturated.

Due to the complexity of the project the paintings are now scheduled to return to the Wallace Collection in late January 2020. We are fortunate to have been able to rely fully upon the HKI’s wonderful resources for analyses and research and all look forward to welcoming the canvases back to London for a triumphant re-installation in our galleries.

Because final photography must await the completion of the conservation project, postcards will be ready in the new year. We realise that this means a long wait for those who have selected this reward but are confident that the work being diligently undertaken at the HKI is worth a bit more suspense!

Thank you for your support! Without your help the conservation and research into these paintings could not happen.