Art in Exile: The Work of Charles Wellens – Part Three

10th January 2024 / Museum blog

In this third blog on Charles Wellens we look at the conservation work the painting had to undergo before it could go on display.

Before conservation, the painting was yellow and dirty, with a rip right through the canvas, and several other areas of surface damage. Sadly we do not know when this damage occurred or much about its history before the painting arrived at the museum.

The painting was sent to conservator Rosalind Whitehouse, who is based in Frome. During her work she discovered the large tear in the canvas likely occurred not long after the painting was completed. At this time it appears to have been repaired, repainted and the canvas lined to give it extra support.

From a label on the reverse we know the painting underwent restoration again in the 1960s. The tear was repainted again, and the whole painting varnished. For some reason it was not cleaned, so the varnish was applied over a layer of dirt. Between then and its arrival at the museum, another layer of varnish was applied and more dirt had built up on the surface, creating a yellowed, dirty image.

After carefully removing the multiple layers of dirt and varnish, Rosalind was able to repair the tear and other damage, before retouching them to make them less visible. All of this was done in such a way as to be completely reversible in the future if required. The painting once again is nearer to how Wellens intended it to look.

Art in Exile: The Work of Charles Wellens – Part Three

Chippenham Town Council