Lot 727

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Description:

Anthony Thieme (American 1888-1954)
Harbor Scene at Low Tide
Signed A. Thieme l.l.
Oil on canvas
30 x 36 in (76.2 x 91.4 cm)

    Notes:

  • Provenance:
    By bequest to the current owners.
  • Condition:
  • Treatment report from recent conservation work on painting:

    Condition as Received:

    Patterns of cracks with cupped paint and ground layers extended across most of the painting but were especially numerous in the sky. Many dramatically lifted paint flakes could be seen in all cracked passages.

    Paint flake losses along cracks also were apparent and most ranged from pin-head size or fine slivers to 1/8 in across while a few were slightly larger. All of the losses seemed to reveal the underlying white ground layer rather than the canvas itself, a condition which certainly suggested an adhesion problem between the paints and ground layer. When the painting was removed from its stretcher during treatment, a stencil in black ink was found on the back of the canvas along the tacking margin at the left end of the bottom edge and reads:

    "Studio Sketching No. 8 PERMALBA PRIMED
    WEBER CANVAS"

    Treatment:

    After solvent tests and initial photography, diluted Beva adhesive was applied carefully to the entire painted surface using soft brushes no larger than 1" wide. The raised paint edges along the cracks and flakes caught the Beva as the brush was moved across the surface in various directions. Some paint flakes were tamped down into place while the Beva was still wet.

    After the Beva had dried, the painting was removed from its stretcher and turned face down on silicone-coated Mylar over felt padding. The reverse was vacuumed to remove all dust and grime. Damp blotters and weights were placed along the taking margins to reduce the long creases caused by the stretcher edges and the sharp, curved creases caused by the canvas pulling against the tacks. The blotters and weights were left in place over night.

    The next day, Beva adhesive was brushed onto the entire reverse. A fairly dilute Beva was used to foster its penetration and consolidation of the cleaving layers. After a few hours, a second coat of somewhat stronger Beva was brush applied. The Beva was allowed to dry over night.

    Next, the painting was placed face up and treated on the vacuum hot table to activate the Beva and gently pull down the raised flakes. The temperature and suction were raised slowly to ensure no paint was broken or flattened. The painting was allowed to cool under vacuum. Excess Beva was cleaned from the surface using V. M. & P. naphtha and toluene. A significant amount of grime, bits of debris and yellowed varnish came away simultaneously. The consolidation treatment had relieved the dry appearance of the sky and dark paints and reduced the overly strong contrast between matte and glossy areas across the painting.





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December 5, 2009 12:00 PM EST
Rockville, MD, US

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Bid Increments
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