Before & After Gallery
Conservation Treatment of Portrait of Egerton Ryerson
History
In April 1998 the Canadian Conservation Institute (CCI) undertook conservation treatment of Portrait of Egerton Ryerson for Ryerson Polytechnic University Archives. The painting along with its companion Portrait of Mary Ryerson (Egerton's wife), was donated to the university by Peter Ryerson (great-great grandson of Egerton), who resides in England. Arrangements were made for the portraits to be shipped from England to CCI prior to their eventual transit to their new home.
Egerton Ryerson was one of the most prominent historical figures in Canada during the 19th century. He served as Chief Superintendent of Education for Upper Canada from 1844 to 1876, establishing the Ontario education system during that time. With one exception (a portrait of Egerton Ryerson by Theophile Hamel in the Ontario Government Art Collection), these paintings are the only known existing portraits of Ryerson and his wife.
Lining
At the time of the original application to CCI, Portrait of Egerton Ryerson was in an extremely fragile state; the canvas had suffered numerous large tears and losses throughout, appeared extremely brittle, and was badly deformed. It could not be safely transported from England to Canada in this condition, so Peter Ryerson engaged the services of a paintings conservator in England, who first consolidated the painting by lining it onto a new canvas support and then resecured it to the original stretcher.
Examination
When the painting arrived at CCI it received a thorough examination including complete photographic documentation and analysis of cross-sections of tiny samples taken from the paint surface. Tears and losses were documented using both transmitted light photography and a hand-drawn diagram.
Cleaning
Lining and facing adhesives, as well as fragments of facing tissue from the treatment work carried out in England, still remained on the surface of the painting, imparting a cloudy or hazy appearance to the portrait. These were carefully removed from the surface using a variety of solvent and aqueous cleaning solutions. During the lining operation, numerous small fragments of paint and ground had detached from the edges of tears and had become redeposited at various locations over the surface of the painting. These were meticulously removed, using a fine surgical scalpel, while observing the surface of the painting through a stereo optical microscope. Old lining adhesive was removed from the gaps between and along the edges of tears with the same technique. Lastly, remnants of old discoloured varnish were removed from the surface of the painting with a variety of solvent mixtures applied with cotton batting swabs.
Filling, Inpainting and Varnishing
Filling of areas of paint loss was done using a putty made from rabbit skin glue and chalk powder. An isolating varnish as applied, and inpainting of fills and losses were carried out to match the original colour and composition. A final new varnish coating was then be applied.
Frame
Extensive conservation work was also being carried out on the frame that accompanied the painting. Cleaning of the surface, consolidation of weakened gesso, and replacement of missing ornamentation were done. When all work was completed, the painting was resecured in the frame, to conservation standards, with a protective backing board secured to the reverse of the stretcher.
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Completion of Conservation Treatment
CCI was pleased to be involved in the
conservation treatment of this portrait, particularly
as it was being carried out in conjunction with the
50th anniversary of Ryerson Polytechnic University.
Treatment was completed by the spring of 1999, at which
time Portrait of Egerton Ryerson was returned
to the institution that proudly bears his name.
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