Thomas Birch (1779–1851) was an influential English-born American landscape painter known for his evocative depictions of natural scenery, particularly along the East Coast. We recently had the pleasure of treating an oil on panel by Birch here at The Conservation Center. The scene is a landscape, featuring three figures carrying a coffin in the foreground. A child stands slightly away from the rest of the group, next to a deep hole he appears to have dug in the ground. A rowboat behind them is likely their transport back to the large ship seen in the background, as it appears their journey has not yet ended despite the detour.
The painting prior to treatment.
Birch emigrated to the United States in 1794 to assist his father, William Birch, in preparing a 29-plate collection of engravings entitled Birch’s Views of Philadelphia -- a series whose subscribers included President John Adams and Vice President Thomas Jefferson. William Birch was a respected enamellist and miniaturist. The younger Birch quickly gained recognition for his skillful landscapes, exhibiting his work at prominent venues including the Pennsylvania Academy of the Fine Arts and the American Art-Union. Though lauded as the “first American ship portraitist” after his famous depictions of naval battles during the War of 1812, Birch's Dutch-style landscapes are worthy of equal acclaim, romanticized accurate depictions that would later influence the style of the Hudson River School.
The Studious Artist: Portrait of Thomas Birch by John Neagle, 1836, Pennsylvania Academy of the Fine Arts
“I think the significance of Thomas Birch's works speak for themselves, though unfortunately lost to time,” said our client, the owner of this painting. “He was the most prominent maritime artist for the United States during his time. Additionally, during his time doing print work with his father, William Birch, they captured the early American landscape as the country was shaping itself.”
The results of the treatment were dramatic, as our conservators brought a beautiful sky-scene back to life, casting light on the solemn burial ritual below. This scene is an excellent example of Birch’s mastery of depicting the natural world, with his keen eye for detail and vibrant use of color.
Slide below to see the difference, and then scroll to read more about the treatment!
The painting arrived at The Conservation Center framed but was removed from its frame for examination. It was executed on a panel with a horizontal grain. The panel had cracks following the wood grain, measuring ½" in the lower left side, 1" in the lower right side (which translated through to the front), 1" in the center right side, 3/4" in the lower left side, and a 2" crack in the upper left side (also translating through to the front). There were minor losses of wood along the verso, likely caused by the painting being nailed into the frame. An inscription that read "T. BIRCH/PHILA." was etched into the panel, and a Christies label indicated "Ref.# HD465/ Line #1 Dept. AMP/LF."
The painting prior to treatment.
The verso of the painting prior to treatment.
The panel was slightly to moderately warped and appeared concave. Small dents were present on the front of the panel in the lower right corner, along the tree at 6”, and along the edges. The paint layer was characteristic of oil and had been moderately applied. The painting exhibited drying cracks in the heavier areas of paint, which were fine and appeared stable at that time, not visually disturbing. Small losses were scattered throughout the painting, particularly in the upper right and lower right corners. The piece showed large frame abrasions and small scattered abrasions in the sky, including a dark abrasion in the upper right corner measuring 4". The painting seemed to be thinly varnished with a natural resin varnish that had discolored, and it exhibited a moderate layer of surface grime.
The frame consisted of wood, compo, gesso, gold leaf, and gold-toned silver leaf, with open miters. It displayed moderate abrasions throughout and light gesso and gilding losses at the miters and sight edges. Light compo losses were noted throughout the upper ornament and at the miters, along with moderate tarnishing across the exposed silver leaf. The finish of the frame appeared to be original, and there was a light layer of surface grime present. An auction label was located at the lower right outer edge.
The painting was photographed for in-house documentation both before, during and after treatment. The cracks were locally consolidated, and the panel was consolidated as necessary. The painting was surface cleaned to remove grime using appropriate aqueous solutions, while the reverse was cleaned of grime with a soft brush and vacuum. The varnish layer was removed to the extent safely possible with organic solvents. Losses were filled and textured using an appropriate fill material, and a coat of varnish was applied to saturate the paint layer. Inpainting was carried out in areas of loss and abrasion using reversible conservation paints, and a final coat of varnish was applied to integrate the surface gloss, as determined necessary by the conservator.
The painting during treatment.
The verso of the painting during treatment.
The miters of the frame were stabilized, and the compo, gesso, and gilding were consolidated with appropriate conservation adhesives. The frame was solvent cleaned, and abrasions and scratches that extended through to the gesso layer were inpainted to emulate the surrounding surface. Compo losses were filled with plaster casts. Gesso losses were filled with traditional rabbit skin glue gesso, black bole was applied to fills and castings, then ingilded with gold leaf. The ingilding was lightly abraded and toned to match the original gilding. Aside from the recommended cleaning and restorations, the finish was left in its present state. A ½" buildup was added on the verso, and the piece was reinstalled into the existing frame according to conservation standards. An archival backing board was added to the reverse for additional protection.
The painting after treatment.
The painting and frame after treatment.
The verso of the frame after treatment,
The legacy of Thomas Birch as a pioneering landscape painter continues to resonate in American art history. His ability to blend naturalistic detail with a romanticized view of the American landscape set him apart in his time, and his works remain an important reflection of the nation's early years. By carefully conserving his paintings, we ensure that future generations will be able to experience the same emotional depth and beauty that Birch’s landscapes so effortlessly convey.
