I'm a painting conservator and PhD researcher, and I run my own painting conservation consultancy, Catherine Nunn Art Restoration. www.catherinenunnartrestoration.com My PhD examines the materials and techniques of Australian artists abroad from 1885-1914. My qualifications are: Masters of Arts (by research) with First Class Honours from the University of Melbourne (2012), Bachelor of Applied Science in Painting Conservation from the University of Canberra (1998) and an Advanced Internship in the Conservation of Easel Paintings at the Hamilton Kerr Institute, University of Cambridge, UK (2003-5). I have worked at numerous institutions as a painting conservator, including: the Victoria and Albert Museum, London, the National Galley of Victoria, Melbourne and the Auckland Art Gallery in New Zealand. Supervisors: Dr Nicole Tse, Professor Alison Inglis, and Dr Petronella Nel
The paper examines the history of the use of the gum leaf as a support for oil paintings in colon... more The paper examines the history of the use of the gum leaf as a support for oil paintings in colonial Australia, with a focus on the conservation treatment of four paintings by artist Alfred William Eustace from the Albury City Gallery Collection. The paper presents some historic background and describes the technical analysis of the material components of these unique paintings, their condition and the conservation treatment undertaken in preparation for exhibition.
... A preliminary study of the methods and materials of Emanuel Phillips Fox Catherine Nunn ... A... more ... A preliminary study of the methods and materials of Emanuel Phillips Fox Catherine Nunn ... Abstract Preliminary investigation of Emanuel Phillips Fox's (1865–1915) painting technique reveals that despite his academic training, his use of materials was quite experimental. ...
Abstract When it arrived in the studio of the Hamilton Kerr Institute at the University of Cambri... more Abstract When it arrived in the studio of the Hamilton Kerr Institute at the University of Cambridge, Simon de Vlieger’s (1600– 53) painting The Blockade of Amoy (1650) was obscured by numerous campaigns of overpaint and the painting’s 18th century lining was deteriorated. This picture belongs to the collection of Felbrigg Hall in Norfolk, England. The painting is a very large canvas, measuring 1.96 x 2.7 m and depicts a battle between Dutch ships and Chinese junks. This paper describes treatment of the painting, with particular reference to the challenges involved in treating such a large canvas.
Abstract This paper discusses the conservation history of the collection of The Foundling Hospita... more Abstract This paper discusses the conservation history of the collection of The Foundling Hospital, London’s first secular home for abandoned children. Records of the conservation of the paintings in the collection were uncovered in the archives of the Foundling Hospital, which included minutes of committee meetings, out‐letter books and ledgers dating from 1739 until the 1950s, as well as evidence of restoration found directly on the paintings. The paper presents examples of documentary evidence which show that the care of the collection of paintings was a consideration for the administrators of the Foundling Hospital from its early beginnings in the eighteenth century to the present day. The documentary information in this paper, though not exhaustive, provides examples of the previous cost of restoration and how artists and private restorers were engaged to undertake this work in London during the past three centuries. Résumé «L’histoire de la conservation d’une collection du XVIIIè siècle: entretien des peintures de l’Hospice pour Enfants trouvés» Cet article examine l’histoire de la conservation d’une collection de l’Hospice pour Enfants Trouvés, le premier foyer laïque londonien pour enfants abandonnés. Des archives sur la conservation des peintures de la collection furent découvertes dans les archives de l’Hospice. Elles incluent les compte‐rendus des réunions du comité, des livres de correspondance et des registres datant de 1739 aux années 1950, de même que des preuves de restauration trouvées directement sur les peintures. L’article présente des exemples de preuves documentaires qui montrent que l’entretien des collections de peintures était une préoccupation pour les administrateurs de l’Hospice pour Enfants Trouvés depuis ses premiers commencements au XVIIIè siècle jusqu’à aujourd’hui. Les informations documentaires dans cet article, bien que non exhaustives, fournissent des exemples de coûts de restaurations précédentes et montrent comment des artistes et des restaurateurs privés furent engagés pour accomplir cette tâche à Londres durant les trois derniers siècles. Zusammenfassung „Die Restaurierungsgeschichte einer Sammlung aus dem 18. Jahrhundert: Die Pflege der Bilder im Findelhaus” Dieser Artikel beschreibt die Restaurierungsgeschichte der Sammlung des Foundling Hospitals (Findlingshauses), des ersten nicht‐säkularen Heimes für Waisenkinder in London. In den Archiven des Foundling Hospitals wurden Unterlagen und Dokumente über die Restaurierung der Gemäldesammlung entdeckt. Diese enthielten unter anderem Protokolle von Ausschußsitzungen, Postausgangsbücher und Hauptbücher aus den Jahren von 1739 bis in die 50er Jahre des 20. Jahrhunderts. Es fanden sich außerdem Hinweise auf frühere Restaurierungsmaßnahmen an den Gemälden selbst. Der Artikel präsentiert Beispiele für dokumentarisches Beweismaterial und Indizien, die aufzeigen, dass die Pflege der Gemäldesammlung von den Anfängen der Institution im frühen 18. Jahrhundert bis heute als eine ernstzunehmende Aufgabe für die Verwaltung wahrgenommen worden ist. Obwohl die in diesem Artikel vorgestellten dokumentarischen Beweismittel das Thema keineswegs erschöpfend behandeln, werden doch interessante Beispiele über die Kosten damaliger Restaurierungsmaßnahmen und über den Einsatz von Künstlern, Handwerkern und Restauratoren zum Zwecke der Ausführung dieser Arbeiten in London in den letzten drei Jahrhunderten gegeben. Resumen “El historial de conservación de una colección del siglo XVIII: El cuidado de los cuadros del ‘Foundling Hospital’” En este artículo se examina la historia de la conservación de la colección del Foundling Hospital, el primer hogar secular para niños abandonados de Londres. Los expedientes de conservación de los cuadros de la colección que fueron descubiertos en los archivos del Foundling Hospital, incluían actas de las reuniones de la comisión, libros de correspondencia y de contabilidad datando de 1739 hasta 1950, así como evidencia de restauración en los cuadros. En el artículo se presentan ejemplos de evidencia documental que demuestran que el cuidado de la colección de pintura ha sido importante para los administradores del Foundling Hospital desde sus comienzos en el siglo XVIII hasta el día de hoy. La información documental en este articulo, aunque no exhaustiva, proporciona ejemplos del antiguo coste de la restauración y de como artistas y restauradores privados han sido contratados para realizar este trabajo en Londres durante los últimos tres siglos.
Preliminary investigation of Emanuel Phillips Fox’s (1865–1915) painting technique reveals that d... more Preliminary investigation of Emanuel Phillips Fox’s (1865–1915) painting technique reveals that despite his academic training, his use of materials was quite experimental. In particular, Fox’s use of unconventional priming layers has often led to structural instability of his paintings. This article describes a preliminary investigation of the methods and materials of E. Phillips Fox through the analysis of a significant painting from his career, Lamplight (c. 1911). A literature review was undertaken, as well as examination of paintings by Fox and their condition reports in available collections (The Art Gallery of New South Wales, The National Gallery of Victoria, The Ian Potter Museum of Art and private collections). The artist’s technique was analysed through infrared reflectography (IRR) and analysis of cross-sections and pigment dispersions from Lamplight. A selection of pigments was identified using Raman spectroscopy, scanning electron microscopy/energy dispersive spectrometry SEM/EDS) and polarised light microscopy (PLM). The preliminary understanding of the artist’s technique and intentions gained through this research should provide a platform for further research into the methods and materials of this significant Australian artist.
The paper examines the history of the use of the gum leaf as a support for oil paintings in colon... more The paper examines the history of the use of the gum leaf as a support for oil paintings in colonial Australia, with a focus on the conservation treatment of four paintings by artist Alfred William Eustace from the Albury City Gallery Collection. The paper presents some historic background and describes the technical analysis of the material components of these unique paintings, their condition and the conservation treatment undertaken in preparation for exhibition.
... A preliminary study of the methods and materials of Emanuel Phillips Fox Catherine Nunn ... A... more ... A preliminary study of the methods and materials of Emanuel Phillips Fox Catherine Nunn ... Abstract Preliminary investigation of Emanuel Phillips Fox's (1865–1915) painting technique reveals that despite his academic training, his use of materials was quite experimental. ...
Abstract When it arrived in the studio of the Hamilton Kerr Institute at the University of Cambri... more Abstract When it arrived in the studio of the Hamilton Kerr Institute at the University of Cambridge, Simon de Vlieger’s (1600– 53) painting The Blockade of Amoy (1650) was obscured by numerous campaigns of overpaint and the painting’s 18th century lining was deteriorated. This picture belongs to the collection of Felbrigg Hall in Norfolk, England. The painting is a very large canvas, measuring 1.96 x 2.7 m and depicts a battle between Dutch ships and Chinese junks. This paper describes treatment of the painting, with particular reference to the challenges involved in treating such a large canvas.
Abstract This paper discusses the conservation history of the collection of The Foundling Hospita... more Abstract This paper discusses the conservation history of the collection of The Foundling Hospital, London’s first secular home for abandoned children. Records of the conservation of the paintings in the collection were uncovered in the archives of the Foundling Hospital, which included minutes of committee meetings, out‐letter books and ledgers dating from 1739 until the 1950s, as well as evidence of restoration found directly on the paintings. The paper presents examples of documentary evidence which show that the care of the collection of paintings was a consideration for the administrators of the Foundling Hospital from its early beginnings in the eighteenth century to the present day. The documentary information in this paper, though not exhaustive, provides examples of the previous cost of restoration and how artists and private restorers were engaged to undertake this work in London during the past three centuries. Résumé «L’histoire de la conservation d’une collection du XVIIIè siècle: entretien des peintures de l’Hospice pour Enfants trouvés» Cet article examine l’histoire de la conservation d’une collection de l’Hospice pour Enfants Trouvés, le premier foyer laïque londonien pour enfants abandonnés. Des archives sur la conservation des peintures de la collection furent découvertes dans les archives de l’Hospice. Elles incluent les compte‐rendus des réunions du comité, des livres de correspondance et des registres datant de 1739 aux années 1950, de même que des preuves de restauration trouvées directement sur les peintures. L’article présente des exemples de preuves documentaires qui montrent que l’entretien des collections de peintures était une préoccupation pour les administrateurs de l’Hospice pour Enfants Trouvés depuis ses premiers commencements au XVIIIè siècle jusqu’à aujourd’hui. Les informations documentaires dans cet article, bien que non exhaustives, fournissent des exemples de coûts de restaurations précédentes et montrent comment des artistes et des restaurateurs privés furent engagés pour accomplir cette tâche à Londres durant les trois derniers siècles. Zusammenfassung „Die Restaurierungsgeschichte einer Sammlung aus dem 18. Jahrhundert: Die Pflege der Bilder im Findelhaus” Dieser Artikel beschreibt die Restaurierungsgeschichte der Sammlung des Foundling Hospitals (Findlingshauses), des ersten nicht‐säkularen Heimes für Waisenkinder in London. In den Archiven des Foundling Hospitals wurden Unterlagen und Dokumente über die Restaurierung der Gemäldesammlung entdeckt. Diese enthielten unter anderem Protokolle von Ausschußsitzungen, Postausgangsbücher und Hauptbücher aus den Jahren von 1739 bis in die 50er Jahre des 20. Jahrhunderts. Es fanden sich außerdem Hinweise auf frühere Restaurierungsmaßnahmen an den Gemälden selbst. Der Artikel präsentiert Beispiele für dokumentarisches Beweismaterial und Indizien, die aufzeigen, dass die Pflege der Gemäldesammlung von den Anfängen der Institution im frühen 18. Jahrhundert bis heute als eine ernstzunehmende Aufgabe für die Verwaltung wahrgenommen worden ist. Obwohl die in diesem Artikel vorgestellten dokumentarischen Beweismittel das Thema keineswegs erschöpfend behandeln, werden doch interessante Beispiele über die Kosten damaliger Restaurierungsmaßnahmen und über den Einsatz von Künstlern, Handwerkern und Restauratoren zum Zwecke der Ausführung dieser Arbeiten in London in den letzten drei Jahrhunderten gegeben. Resumen “El historial de conservación de una colección del siglo XVIII: El cuidado de los cuadros del ‘Foundling Hospital’” En este artículo se examina la historia de la conservación de la colección del Foundling Hospital, el primer hogar secular para niños abandonados de Londres. Los expedientes de conservación de los cuadros de la colección que fueron descubiertos en los archivos del Foundling Hospital, incluían actas de las reuniones de la comisión, libros de correspondencia y de contabilidad datando de 1739 hasta 1950, así como evidencia de restauración en los cuadros. En el artículo se presentan ejemplos de evidencia documental que demuestran que el cuidado de la colección de pintura ha sido importante para los administradores del Foundling Hospital desde sus comienzos en el siglo XVIII hasta el día de hoy. La información documental en este articulo, aunque no exhaustiva, proporciona ejemplos del antiguo coste de la restauración y de como artistas y restauradores privados han sido contratados para realizar este trabajo en Londres durante los últimos tres siglos.
Preliminary investigation of Emanuel Phillips Fox’s (1865–1915) painting technique reveals that d... more Preliminary investigation of Emanuel Phillips Fox’s (1865–1915) painting technique reveals that despite his academic training, his use of materials was quite experimental. In particular, Fox’s use of unconventional priming layers has often led to structural instability of his paintings. This article describes a preliminary investigation of the methods and materials of E. Phillips Fox through the analysis of a significant painting from his career, Lamplight (c. 1911). A literature review was undertaken, as well as examination of paintings by Fox and their condition reports in available collections (The Art Gallery of New South Wales, The National Gallery of Victoria, The Ian Potter Museum of Art and private collections). The artist’s technique was analysed through infrared reflectography (IRR) and analysis of cross-sections and pigment dispersions from Lamplight. A selection of pigments was identified using Raman spectroscopy, scanning electron microscopy/energy dispersive spectrometry SEM/EDS) and polarised light microscopy (PLM). The preliminary understanding of the artist’s technique and intentions gained through this research should provide a platform for further research into the methods and materials of this significant Australian artist.
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literature review was undertaken, as well as examination of paintings by Fox and their condition reports in available
collections (The Art Gallery of New South Wales, The National Gallery of Victoria, The Ian Potter Museum of Art and private collections). The artist’s technique was analysed through infrared reflectography (IRR) and analysis of cross-sections and pigment dispersions from Lamplight. A selection of pigments was identified using Raman spectroscopy,
scanning electron microscopy/energy dispersive spectrometry
SEM/EDS) and polarised light microscopy (PLM). The preliminary understanding of the artist’s technique and intentions gained through this research should provide a platform for further research into the methods and materials of this significant Australian artist.
literature review was undertaken, as well as examination of paintings by Fox and their condition reports in available
collections (The Art Gallery of New South Wales, The National Gallery of Victoria, The Ian Potter Museum of Art and private collections). The artist’s technique was analysed through infrared reflectography (IRR) and analysis of cross-sections and pigment dispersions from Lamplight. A selection of pigments was identified using Raman spectroscopy,
scanning electron microscopy/energy dispersive spectrometry
SEM/EDS) and polarised light microscopy (PLM). The preliminary understanding of the artist’s technique and intentions gained through this research should provide a platform for further research into the methods and materials of this significant Australian artist.