Elizabeth Glander
Summer 2026
Royal Museum of Fine Arts Antwerp
Supervised by Gwen Borms
Head of the Conservation Studio at the Royal Museum of Fine Arts Antwerp
(Koninklijk Museum voor Schone Kunsten Antwerpen or KMSKA)
Man Reading a Newspaper
Adriaen van Ostade (1610-1685)
1638
Oil on panel
27.8 cm x 22.9 cm (H x W)
Inventory #5062
Royal Museum of Fine Arts Antwerp
Before treatment images including normal light, raking light, UV, and IR multiband photography.
Image Credit: Rik Klein Gotink, February 2026
Summary of Treatment
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Dry surface cleaned.
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Performed solubility tests to remove surface grime, varnish, and overpaint.
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Stabilized delaminations in the wood.
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Varnish and overpaint removal.
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Applied isolating varnish layer.
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Inpainted areas of loss.
Condition Summary
For a complete condition report of the painting, please click on the pink button above.
Condition map of the painting, recto.
Red = Delamination of wood
Yellow = Loss of wood or indentation
Green = White accretion
Light Blue = Retouching
Purple = Disturbance to the varnish
Condition map of the painting, verso. The painting is still in its frame.
Orange = Old paper tape
Yellow = Loss of wood or indentation
Green = Abrasion
Light Blue = Original nail marks
Solubility Testing
Aqueous cleaning testing was performed. The swabs were not lifting any surface grime and it was decided that since the painting has been in museum conditions since 1951, it was likely that there was no surface grime to remove. For this reason, aqueous cleaning was not performed.
Varnish and overpaint solubility testing showed that the varnish in the background could be removed with 2:1 isopropanol:ShellSol D40 while the varnish on the figure and overpaint could be removed with 3:1 isopropanol:ShellSol D40. For more difficult overpaint, it was reduced with ethanol. Acetone was then used to reduce residues and slight blanching of the thin lay of natural resin (est.) varnish. This lowest layer of varnish was not soluble in solvents so it was decided to not try and remove it.
Aqueous cleaning test locations to remove surface grime.
1 = Demineralized water
2 = Saliva with demineralized water rinse
3 = pH 6.5 adjusted water with Bis-Tris & demineralized water rinse
4 = pH 6.5 adjusted water with citric acid & pH 6.5 adjusted water with Bis-Tris rinse
Varnish and overpaint solubility testing locations.
A1 = Shellsol D40
B1 = 1:3 isopropanol:ShellSol D40
B2 = 1:2 isopropanol:ShellSol D40
B3 = 1:1 isopropanol:ShellSol D40
B4 = 2:1 isopropanol:ShellSol D40
B5 = 3:1 isopropanol:ShellSol D40
Stabilizing the Panel
Areas along the edge of the panel were delaminating resulting in it being unstable. I worked with Jean-Albert Glatigny (panel expert and independent restorer for KMSKA) for this step.
25% fish glue was applied to the delaminations to help break surface tension.
Image Credit: Jean-Albert Glatigny
A fill of phenolic resin beads and fish glue was applied to the wood and pressed into the gaps with a dental tool.
Image Credit: Jean-Albert Glatigny
Excess fill was removed with a damp suction block sponge.
Image Credit: Jean-Albert Glatigny
Once the area was clamped, any fill that was squeezed out was removed with a swab dipped in water.
Image Credit: Jean-Albert Glatigny
The fill was allowed to dry for 15-24 hours.
Varnish & Overpaint Removal
Varnish and overpaint removal, normal light and UV photographs.
UV photographs were taken with a Samsung S25 Ultra phone and no color corrections were made.
Isolating Varnish
Dammar varnish is commonly used by European painting conservators. Reasoning behind it includes:
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It is aesthetically pleasing.
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It is known to stay soluble as it ages.
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They do not like to use synthetic varnishes unless the paint surface is sensitive and calls for it.
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In museum conditions, it should not yellow as quickly.
Test windows of 15% and 20% Dammar varnish were done to see how the painting looked. 20% Dammar varnish did not sink in as much as the 15%.
15% Dammar varnish.
20% Dammar varnish.
Small test windows of 15% (upper window) and 20% (lower window) Dammar varnish applied and allowed to sit for almost 4 hours.
Inpainting Areas of Loss
Coming soon!
References
2004. La Tentation du Regard: Peinture bourgeoise de l’Âge d’Or aux Pays-Bas Collections d’Anvers et de Luxembourg. Luxembourg: Ville de Luxembourg.
Bojakowska, Lena. 2026. “Signature: Adriaen van Ostade, Man die een krant leest.” Technical report, Royal Museum of Fine Arts Antwerp, March, 2026. Electronic file.
Brenner, Carla, Jennifer Riddell, and Barbara Moore. 2007. Painting in the Dutch Golden Age: A Profile of the Seventeenth Century. Washington, D.C.: National Gallery of Art.
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Man die een krant leest (5062). 2026. Electronic record, last modified March 16, 2026. The Museum System Database, Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA).
Meier, Eric. n.d. “Hardwood Anatomy.” Accessed June 3, 2026. https://www.wood-database.com/wood-articles/hardwood-anatomy/.
Morel-Deckers, Yolande, Erik Vandamme, Paul Vandenbroeck, Julien Vervaet, and Leo Wuyts. 1988. Catalogus Schilderkunst Oude Meesters. Edited by Erik Vandamme. Antwerpen: Koninklijk Museum voor Schone Kunsten.
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National Gallery of Art (c). n.d. “Munich Central Collecting Point Archive.” National Gallery of Art. Accessed June 5, 2026. https://www.nga.gov/munich-central-collecting-point-archive.
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