57 inches tall

Carved from a one piece log.

Coniferous type wood (pine or Douglas fir at 25X) 

Polychrome decoration with partial gilt.

Attributed to Samuel Robb, New York.

The initial examination suggested that the object had not seen overly intrusive restoration and that the surface could be the original paint layer. However, there was strong evidence of numerous fills, repairs and overprint. The surface also showed a heavy grime layer along with severe oxidation. The base had split and repaired numerous times with dowels and various fill material. A series of Imperical solvents tests were performed showing that the degraded surface layer was tightly ingrained to the paint layer particularly on the front of the sculpture due to the severe oxidation resulting from exposure to ultra-violet light. These tests included ethanol, acetone, xylene and mineral spirits. Initial speculation was that the surface had been treated with linseed oil, a common practice with objects both inside and outdoors, however, microscopic analysis showed no evidence of a later addition over the yellow paint. other than traces of a pigmented glaze.. The original solvent tests also showed that the various colors reacted  differently to different solvents with the red being the most vulnerable.

  This cross section shows the reaction of the paint  binder to Rhodamine B staining exhibiting an oil presence.  (UV light & RHOB 250X)

Several problems needed to be addressed in designing the cleaning process, one, to remove the heavy grime layer, and two, remove the heavily applied fill materials and overpaints. A series of solvent gels were created (Carbopol 934 and Ethameen C25 &C12) for the test cleaning aspect with a blend of xylene/benzyl alcohol being the most effective. Among other but unsuccessful tests included aqueous based systems such as lipase (enzyme) gel (for added oils) and triethanol amine (TEA).

After considerable time spent cleaning the surface with the xylene/benzyl alcohol gel with limited results, a larger volume of distilled water was added to create a stronger water phase within the solvent gel, this water had also been adjusted to a pH of 8.5. (1N NaOH). This small change made a large improvement in the cleaning capacity of the solvent gel speeding the process.

With all old, unstable repairs removed, the surface was consolidated with low molecular weight Regalrez 1094 in mineral spirits. This material was chosen due to its ability to soluablize in a hydrocarbon solvent (mineral spirits) which had shown not to affect any of the paint layers. This would allow the coating to be removed easily with mineral spirits without putting the original paint layers at risk. The Regalrez also provided a stable barrier coat over both the painted and unpainted areas.

The large radial splits were filled with fitted balsa wood chosen for its ability to conform to irregular splits and expand and contract more easily as the log moved seasonally. (note: bass wood was used in the base for stability).

The raw areas of the most severely damaged L-P side and hand were smoothed with an application of acrylic gesso (over the barrier layer of Regalrez). Acrylics and water colors were used for the inpainting. Once the old and new repairs were blended two additional coats of the Regalrez were applied.

A new wooden surround for the base was created to “float” allowing it’s easy removal and non-intrusive attachment.

Observations:

An added piece was removed from the top of the knife handle. This was probably added to help disguise the large radial split running through the hand and knife. Original paint decoration on the cloak was found behind it.

The right-proper tip of the bottom feather on the head dress is an old replacement.

The added dowels in the base from an earlier repair attempt were removed.

Large quantities of “bondo” were removed from the splits in the feet and base.