RACHEL SCOTT, ACR
B.A. Hons., Dip.Cons., Accredited Member of ICON, The Institute of Conservation
Painting Conservation
51 Malvern Road, London E8 3LJ
tel: 0207 241 2035 mobile: 07867721523 email: rachel.scott@tiscali.co.uk
TREATMENT REPORT
23rd February 2011
Jane Morris Jewel Casket
Painted panels attributed to Dante Gabriel Rossetti and Elizabeth Siddal
Kelmscott Manor
Painted wood and metal jewellery casket (H) 170mm x (W) 310mm x (D) 190mm
CONDITION
The decorative walls of the casket consist of six sections of sandalwood set into a metal frame
work, which divides them into three panels on the front, back and both lids. The side sections at
each end are set behind metal work dividing each into a scallop edged panel with small arch and
trefoil openings above. The metal handle at the left side moves freely, while the handle at the right
side is slightly rusted and stiff. The patination of the metal at either end panel is worn around the
position of the handles. The wood panels appear to be attached to the metal by a decorative lines of
fillister head screws. There is a single screw missing at the top left corner of the front lid.
PANEL SUPPORTS
There are a number of cracks in the wood panels, running along the grain which is horizontal front
back and lid, and vertical at each side. These occur in the following locations:
 Front of casket: a crack (110mm long) runs across the bottom of the centre and extends into
the right panel. A small crack extends into the right panel, from the lower right edge.
 Front lid: a crack (56mm long) along the bottom of the left panel.
 Left side panel: a split runs from top to bottom, on the right side of the large panel. The
split is very slightly open and has evidence of old adhesive and fill in the opening.
 Back lid: a crack (125mm long) runs across the upper part of the centre panel and continues
across half of the left panel.
These cracks are old and stable at present, but need to be monitored. In addition there are
numerous scratches and indentations in the wood, particularly on the unpainted back panel, but
also seen in the back lid, and in the left and right panels of the front, (see annotated photographs).
PAINT AND GROUND LAYERS
The painting technique differs between panels. The front panels are painted without a ground,
directly onto the wood. The wood grain is visible in gaps in the design and through abrasions and
losses to paint layers. The front right panel is much worn, and the image is thin. As with the other
panels, there are numerous localised paint losses, scratches to the paint and surface abrasions. The
front centre panel has two large losses corresponding to the position of the figures’ hands, and it is
possible that these were never painted. There are abrasions in the green tree tops in the left panel
and in the lower middle of the centre panel. There are a number of light scratches scattered
throughout. As in all of the panels, there are localised crack patterns, generally relating to certain
colours. For example, the blues, and greens show a minute age crackle, with slightly raised edges,
particularly noticeable in parts of the left side panel. However, these cracks appear structurally
sound.
The lids and side panels have been first prepared with a very thin, red ground layer applied to the
wood. This is visible in numerous losses to upper layers, particularly at the left side and in the back
lid, centre panel. This thin red ground is very lean and powdery. Over this, there is a thicker, well
bound, more textured application of a red paint, which forms the base of the painted designs and
the final layer of the back lid and right side panel. Numerous losses occur between these red layers
as well as between the second thicker red layer and the upper paint layer of the design. The most
damage has occurred in the left side panel and the centre panel of the back lid (see annotated
photos for locations). However, there are similar small losses scattered throughout the panels. The
problem of past flaking is has probably been exacerbated by handling and impact damages as well
as movement in the wood due to a fluctuating environment. However, it is also due to an inherent
problem associated with the technique and poor adhesion between paint layers, with the lower red
ground constituting a friable layer. The edges to the losses are generally not raised, with the
exception of a loss at the centre right edge of the front lid’s left panel. However, the paint is
vulnerable to further loss through handling and movement.
SURFACE LAYERS
The painted designs appear for the most part unsaturated, with a matt surface with numerous areas
that have a slightly blanched appearance. The artists may have applied a “patination” to the panels,
owing to a brownish grey layer caught in the grooves of the brush strokes and impasted paint, or
this may be due to accumulations of dirt built up over time. With the exception of the back
unpainted section, parts of the panels appear to have a waxy polish or varnish applied. Further
examination, for example using U.V. light, would help to confirm the nature of the varnish. There
are substantial accumulations of loose dirt and grime around the edges of each of the panels, and a
light coating of dust overall. The interior of the casket also has a significant amount of dust in and
around the draws and joints of the metal.
TREATMENT
The interior of the casket was dusted with a soft brush and museum vacuum cleaner to remove
accumulations of dust in and around the drawers and crevices. The metal exterior of the casket was
then surface cleaned, using Groomstick ®, (a molecular trap, dry cleaning natural rubber). The
panels were lightly surface cleaned in the region of the losses with a swab moistened with
deionised water. The edges of the paint losses were secured using Lascaux medium 4176 (an
aqueous dispersion of an acrylic copolymer). This was chosen after comparing with an initial test
using isinglass (c.4%w/v in deionised water). The Lascaux medium showed superior abilities to
penetrate the friable edges of the losses, without involving the use of too much liquid. The raised
edge of a loss was laid with the help of a warm hot spatula.
Following consolidation it was possible to complete the surface cleaning. Accumulations of dust
and debris around the edges were removed with a brush followed by surface cleaning with
moistened cotton wool swabs.
Rachel Scott
23/2/2011