BAPCR Associate member of the
British Association of Paintings
Conservator-Restorers.

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The International Institute
for Conservation of Historic
and Artistic works.

   Specialist Affiliate
   of the BDMA

Tel: 01954 789 447    Mob: 07768 551478 E-mail: hawkes@justinhawkes.com
Justin Hawkes Conservation Studio
Cambridgeshire
 
Tel: 01954 789 447 E-mail: hawkes@justinhawkes.com
Tel: 01954 789 447    Mob: 07768 551478 E-mail: hawkes@justinhawkes.com
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St Mary's Church, Bourne Street, Belgravia, London SW1W 8JJ

Restoration of the Reredos by Colin Gill (1892-1940)


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Case Studies

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    The Seven Sorrows by Colin Gill (1892 - 1940)
    St Mary's Church, Bourne Street, Belgravia, London SW1W 8JJ

    The following slides give an insight into the restoration of The Seven Sorrows by Colin Gill as observed by the conservators Jenny Duffy and Justin Hawkes – January / February 2009.

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    Observations from the conservators Jenny Duffy and Justin Hawkes
    January / February 2009

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    Gill uses both his own geometric grid and free hand drawing beneath the paint layers. The geometric grid we see on the gesso is constructed in both harlequins and squares and the free hand drawing is fluid portraying lithe figures. He uses a great degree of transparency in the paint mix, which allows us to see through each layer, to the drawing beneath. The white gesso (the preparation ground the artist draws on) provides a glow through the transparent paint layers. This glow is particularly evident in the backgrounds and figures.

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    He is skilled at contrasting impasto (thick paint sometimes manipulated with a palate knife) with thin transparent painting.  In the third sorrow  “Jesus is Lost for Three Days.” We see Gill employ such skills. The building behind the figures has been painted using impasto referring us to aged plaster work and possibly puts us in mind of the buildings history (its repairs and damaged walls).

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    In  “Our lady stands at the foot of the cross” we see Gill using thin and transparent paint behind Our Lady achieving an ethereal sky.

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    In the Pieta the painting departs from transparency as we witness Gill painting impasto throughout. This gives the figures a compelling presence.

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Justin Hawkes Conservation Studio Cambridgeshire - 2A Old Rectory Drive, Dry Drayton, Cambridge CB23 8BU
Tel: 01954 789 447 - Mob: 07768 551 478 - E-mail: hawkes@justinhawkes.com

Justin Hawkes Conservation Studio Cambridgeshire
2A Old Rectory Drive, Dry Drayton, Cambridge CB23 8BU
Tel: 01954 789 447
Mob: 07768 551 478
E-mail: hawkes@justinhawkes.com