From Distress to Beauty: Conservation of Camy Rocher's 'Erzulie'

Camy Rocher, a talented Haitian artist whose life ended far too soon, left behind a legacy that continues to captivate art enthusiasts. Born in 1959 and tragically passing away at the tender age of 21 in 1980, Rocher's artistic journey was cut short, but his impact on the art world remains deep. Rocher's painting Erzulie stands as a testament to his talent and vision.

Erzulie before treatment

Measuring 36 inches in height and 24 inches in width, this oil on canvas portrays the enchanting figure of Erzulie, a beloved figure in Haitian Vodou mythology. Erzulie, often associated with love, beauty, and femininity, is portrayed with grace and elegance in Rocher's painting. However, when the painting arrived at The Conservation Center, it bore the imperfections of time and neglect. 

Erzulie before treatment, detail

 Upon arrival at The Conservation Center, Erzulie was in a state of distress. The painting exhibited numerous issues including sharp, raised cracking, paint losses, and notable deformations to the canvas. Despite these issues, the inherent beauty of Rocher's creation shone through, awaiting conservation. Under the expert guidance of Michael Young, Senior Paintings Conservator at The Conservation Center, a treatment plan was developed to breathe new life into Erzulie. The process started with thorough photographic documentation, ensuring a comprehensive record of the painting's condition before and after treatment. 

Erzulie before treatment under raking light

The treatment began by consolidating the numerous areas of flaking paint using a reversible adhesive formulated for conservation. Stabilizing the paint layer allowed for the careful removal of surface grime with an aqueous cleaning. The painting was then removed from its inadequate stretcher and flattened using humidification and suction techniques. To provide structural support to the original canvas, the painting was lined to a prepared secondary canvas using conservation-grade adhesive. The painting was then restretched to a new auxiliary support and keyed out to ensure optimal tension.  

Erzulie before treatment detail

Erzulie before treatment detail

Erzulie before treatment detail

Losses were filled and textured using conservation-grade fill material before a coat of varnish was applied to saturate the paint layer. Reversible conservation paints were used for inpainting to integrate areas of loss and abrasion seamlessly. A coat of UVS matte varnish added a final touch, enhancing the painting's surface while protecting it from harmful UV rays. An archival backing board was attached to the reverse for additional protection, preparing Erzulie to go back on display in the owner's home. 

Erzulie after treatment, under UV light

Erzulie after treatment detail

Erzulie after treatment detail

The client's feedback echoed the sentiment of many admirers of Camy Rocher's work. Describing the transformation as "miraculous," they expressed gratitude for conserving this important piece of Haitian art history. "Your team’s work is outstanding. I spent the weekend gawking at the restored piece that is now magnificent and will remain a powerful contribution to the legacy of Camy Rocher for years to come." 

Erzulie after treatment

Erzulie after treatment verso

Erzulie after treatment, detail of signature

Saving a Sentimental Souvenir Scroll

Souvenirs serve as tangible memories, mementos carefully chosen during travels to remind us of the places we've explored and the moments we've cherished. This scroll, acquired during a trip to Beijing in 1990, holds personal significance to its owner. "Back then, there was very little foreign tourism in Beijing. There was one tourist hotel - a 60's era socialist concrete structure called the Friendship Hotel. There was one tourist shop where you could purchase with Yuan - the foreign currency. I purchased the scroll because it was beautiful." At a time when foreign tourism in Beijing was low, the acquisition of this artwork was a rare and cherished opportunity. 

Chinese Scroll before treatment

The scroll, an artwork by an unknown artist, is a mixed-media piece on paper measuring 73x1x20.5 inches. Its design spans its surface, showcasing intricate details and delicate craftsmanship. Despite its age, the scroll exhibits minimal distortion, but not without signs of wear and tear. A tear is evident where the lower rod has detached, accompanied by minor losses and small holes in the lining paper. Inherent age-related discoloration and yellow staining add character to its surface, while water stains mar the painted surface and silk.

Chinese Scroll before treatment verso

Chinese Scroll before treatment detail

The scroll underwent treatment under the expert care of Katrina Flores, Associate Conservator of Works on Paper. First, the tear near the lower rod was repaired using Japanese tissue and wheat starch paste. Then, Katrina cleaned the surface to reduce grime using a textile sponge and a soft brush. Losses were filled using Japanese tissues and wheat starch paste. Additionally, retouching was carried out, using colored pencils and pastels to integrate the filled areas into the surrounding surface, ensuring a seamless treatment.

Chinese Scroll before treatment, detail

Through careful conservation, the scroll's beauty and sentimental value have been preserved. While the artist and origin may be unknown, the owner does not appreciate it any less. "A Chinese friend told me it was a love poem. But he could not read it all. I gathered the text is very old. It cost over US $100 - which was a lot for me at the time. I love the particular calligraphy style." This cherished scroll stands as a testament to the enduring power of art to capture moments in time and evoke treasured memories of past adventures.

Chinese Scroll after treatment

Chinese Scroll after treatment, verso

Breathing New Life into Maritime Art: The Revival of Thomas Birch's 'American Ship'

Thomas Birch, celebrated for his maritime paintings that encapsulate the essence of American naval history, is considered to be the first "ship portraitist." Born in England to artist William Birch, Thomas Birch (1779 – January 3, 1851) moved to the United States in 1794, settling in Philadelphia. American Ship, an oil on canvas seascape painting measuring 22.5x32.25 inches, is an excellent example of Birch's maritime work. However, the results of time had dimmed its brilliance, prompting its journey to The Conservation Center for treatment.

American Ship before treatment

Upon arrival at The Conservation Center, American Ship underwent an examination to assess its condition. Executed on a canvas of medium weave and weight, the painting revealed signs of age-related wear. Notably, the painting had a heavily discolored varnish layer, a quarter-inch area of canvas loss at the upper right corner and frame abrasions.

American Ship before treatment, verso

Under the skilled direction of Associate Paintings Conservator Rebecca Vodehnal and Senior Conservator of Furniture Stephen Ryan, a comprehensive conservation plan was devised for both the painting and the frame. Rebecca began the painting treatment with the removal of the painting from its frame for thorough examination and documentation, including high-resolution before and after-treatment photography. Surface cleaning techniques, including aqueous solutions and dry methods, were employed to remove accumulated grime from the painting's surface.

American Ship before treatment under raking light.

American Ship during treatment, under UV light

To address structural deficiencies, the missing keys on the stretcher were replaced allowing the canvas to be adjusted properly. Additionally, labels affixed to the stretcher were carefully protected with Mylar to preserve the painting's provenance. The discolored varnish layer was removed using appropriate solvents to reveal the paint's original vibrancy. Losses in the paint layer, including the quarter-inch area of canvas loss at the upper right corner, were filled and textured using conservation-grade materials. Skilled inpainting techniques were then applied to seamlessly integrate the conservations with the original artwork, ensuring a harmonious visual unity.

American Ship during treatment, with the discolored varnish removed on the left, and still present on the right.

The preservation of the frame, characterized by its gold-toned silver leaf and red bole over yellow, was performed by Stephen Ryan. Solvent cleaning techniques were employed to retain its original finish, while minor gesso and gilding losses were consolidated using conservation adhesives. Notably, the inherent tarnishing of the silver leaf was preserved as a testament to the frame's storied history.

American Ship after treatment

Reflecting on the conservation process, the client expressed profound satisfaction, noting the remarkable transformation achieved by The Conservation Center. The client shared that the painting now "pops with vibrancy, as if [American Ship] was just recently painted." Through thorough care and expert craftsmanship, American Ship has been conserved to its former glory, serving as a testament to Thomas Birch's artistic prowess and the dedication of The Conservation Center's team. 

American Ship after treatment, verso