In the workshops of The Phoebus Foundation, the late medieval limestone altarpiece of Saint-Denis-en-Broqueroie is currently undergoing a thorough restoration. Once richly polychromed, the piece shows signs of centuries of neglect: yellowed varnish, soot, grime, and numerous paint losses. The focus is on the delicate polychromy – the color palette that once brought the altarpiece to life – and the treatment of the limestone support.

One of the most striking damages is the head of Christ, which has become detached from his body. This break is being carefully repaired: the head is reattached, the break surface filled, and subtly retouched. Several lost crockets – architectural details that once crowned the sculpture – are also being reconstructed based on style and remaining traces.

Prior to the actual treatment, the altarpiece was thoroughly examined. A condition report was drawn up, mapping all damage, dirt, and overpainting. During a test restoration, various methods were tested to reveal the original materials as respectfully as possible: from cleaning and fixing flaking paint to removing disturbing varnish layers. Step by step, the work is being brought closer to its original appearance – with respect for its history, and for the future.

When visiting an exhibition, one mostly sees the end result: artworks presented in a carefully considered setting, ready to move, surprise, or provoke thought. But behind that apparent effortlessness lies an intense process that takes months of work by an entire team. For Het komt allemaal goed in the Keizerskapel, the initial idea came from writer-singer Rick de Leeuw and Executive Director Dr Katharina Van Cauteren. In the months that followed, they collaborated with a diverse team of project coordinators, scenographers, art handlers, and exhibition builders to bring the exhibition to life.

A spur-of-the-moment idea at the office on an ordinary weekday about a suitable location unexpectedly leads to a Sunday visit to Jean-Pierre De Bruyn, the owner of the Keizerskapel. The concept for the exhibition Het komt allemaal goed immediately appeals to him. Less than a week later, scenographer Lee Preedy joins the conversation. Her experience with scenography in sacred spaces proves to be of immense value. She knows how to respect the centuries-old context while simultaneously creating something that is visually striking. With twelve artworks in mind – carefully selected by Rick de Leeuw – she begins to sketch. Everything revolves around a balance between restraint and impact.

As soon as the concept is finalised, the art handlers take over. In their workshop, they build each component of the installation with the utmost precision. From the wooden base structure to the fine finishing touches, everything receives careful attention. Once all the elements are ready, they are transported to the Keizerskapel. There, the construction begins with the installation of a raised floor—the foundation of the entire scenography. This floor quite literally and figuratively lifts the visitor above the everyday. In doing so, the space begins to tell its new story.

With the floor in place, the walls follow, clad in warm red velvet. The deep colour creates an intimate atmosphere that suits the chapel. Here and there, mirrors are integrated—subtly, but with purpose. They break up the perspective and make the space appear larger than it is. Some parts of the box allow you to see beyond, letting your gaze wander through the room. These visual openings create rhythm and curiosity. The visitor is invited to explore.

Once the structure stands firm, it is time for the artworks themselves. One by one, the twelve pieces are carefully hung, each with attention to light, line, and proportion. The lighting is fine-tuned down to the smallest detail to ensure each work comes into its own. At the same time, security systems are installed and the audio guides are tested. The introductory video also receives a prominent spot at the start of the exhibition route. The entrance area is given one final makeover, including a welcome desk and custom wall coverings.

And then the moment arrives: the doors can swing open to the public.

Jade Hill is an Edinburgh-based paintings conservator, and our most recent fellow at The Phoebus Foundation. Over the past few months, she has applied her conservation expertise to treat several works of art. Notably, she carried out image reintegration on Portrait of Archduke Maximilian and Portrait of Archduchess Elisabeth, two portraits by Jakob Seisenegger (1505-1567), and assisted Jill and Ellen Keppens in the complex removal of varnish and overpaint on the Seige of Horn by Peter Snayers (1592-1667).

One of Jade’s key contributions during her fellowship is the full restoration of Saint Rosalia, an eighteenth-century Baroque painting by the Mexican artist, José de Páez (1720-c.1790).

Saint Rosalia is a small, religious scene on a copper support, in the style and palette typical of the artist. The composition centres around two prominent figures: Saint Rosalia of Palermo, Sicily is on the right, depicted in a dark-blue dress, wearing a crown of red roses and holding a crucifix. A winged angel, dressed in red, is to her left, gesturing towards heaven in the top left corner. The  figures appear inside a cave, with a distant view of a building on the shore-front, likely to be Palermo Harbour, and a skull appears in the foreground;  these details are characteristic to depictions of the saint.¹

An inscription in the lower left corner, loosely translated from Latin to English, reads: ‘I, Rosalia, of Sinibaldi, of Quisquina, and of the roses. In adoration of my lord, Jesus Christ, I dwell in this cave to be closer to Him.’ Sinibaldi is the family name of Rosalia and Quisquina is the Sicilian municipality of her family. Rosalia lived in a cave near Palermo as a hermit in devotion to her faith.

Though undated, the painting was signed ‘Jph. de Paez fecit en Mexico.’ The artist previously signed works ‘Joseph de Paez,’ with the abbreviated signature only appearing in works completed from 1770 onwards,² thus likely dating Saint Rosalia on or after this date.

A fascinating feature of Páez’s working process is the tendency to repeat compositional elements, particularly the positioning and proportions of figures.³ In a comparison with another Páez painting in The Phoebus Foundation collection, La Divina Pastora, not only can one observe a common palette of earthy tones complimented with rich reds and deep blues, there is also a striking resemblance between the face and head positioning of the central figures. Overlaying both of the portraits digitally, they are proportionally almost identical, with only the scale and expressions differing.

Close examination of Saint Rosalia has uncovered two areas of pentimenti, or visible traces of changes made by Páez during the creation of the painting. These adjustments appear on the left shoulder and hand of the angel, and give us an indication of the creative process used by the artist to ensure compositional balance and proportional accuracy.

Copper is a very stable support, as it does not react to environmental fluctuations to the extent that canvas and wooden panel do, and therefore the paint layer did not exhibit a network of craquelure typical of a painting of this age, and there was no actively flaking paint. However, due to the smoothness of the substrate, paintings on copper panels are susceptible to paint loss from accidental damage; Saint Rosalia had suffered from this fate, with many significant losses in the paint layer resulting from abrasions, as well as from planar deformations in the support. A previous attempt at restoring the piece had covered an area to the left of the painting in thick, dark overpaint, obscuring original image and creating a disfiguring effect to the composition.

The aged, natural resin varnish was visibly oxidised, with slight yellowing and ingrained dirt. A relatively straight-forward varnish removal was carried out using free solvents; however, the thick layer of overpaint was far more stubborn and required further initiative. A series of water-in-oil macro-emulsions were explored, with the intention of solubilizing and removing the later additions without causing damage to the paint layer (and the metal plate). Great care was required during this stage of the treatment, as the test area was rather small, and it was important to apply the gel in a controlled manner, removing 0.5cm² areas at a time and monitoring its effect, ensuring only the overpaint was affected.

Aqueous filling materials should ideally be avoided for use with copper panels, due to the necessity of limiting any contact of water with the support. Furthermore, there is no requirement for a flexible filler typically used on canvas supports, that accommodate for fluctuations in relative humidity. Pigmented Wax Resins (PWR) were therefore explored for use; these are a suitable material because of their workability, lack of colour-shift upon application, and compatibility with conservation-grade retouching materials. The pigment content also adds toning to the infills and thus removes the necessity of a separate ‘basic retouching’ step.

It has previously been indicated that the beeswax content in commercially available PWR infills has the potential to have unwanted reactions with copper supports due to its acidity; normally, a localised isolation layer is recommended to prevent this, which reduces the depth of the already-shallow losses. Recent researchers have developed an alternative PWR, using Cosmoloid H80 and Regalrez® 1126, heated together and combined with pigments, before pouring into a mould.⁴ Following the guidance outlined in the research article, three PWR sticks were made, each using a different pigment to aid integration: titanium white, burnt umber, and raw sienna. These were applied  to the losses with the use of a heated needle, allowing precise control to add texture and match the surrounding paint layer.

Once the infills were complete, image reintegration was carried out using carefully colour-matched Golden PVA conservation paints, unifying the overall image and bringing the painting back to the way the artist had intended.

1. Palazzotto, ‘La Patrona contesa. L’iconografia di Santa Rosalia e le dispute della committenza religiosa a Palermo da Van Dyck a De Matteis’, in: V. Abbate, G. Bongiovanni & M. De Luca (eds.), Rosalia eris in peste patrona, exh. cat., Palermo, Palazzo Reale, 2018: 61-72.[↩]
2. M.M. Castañeda Hernández, José de Páez: personalidad artística, gusto e irradiación de su obra de 1750 a 1780, master paper, Universidad Iberoamericana Ciudad de México, 2016, http://ri.ibero.mx/handle/ibero/339.[↩]
3. Y.A. Ramírez Sánchez, ‘Il proceso pictórico de José de Páez: Ciclo de la vida de la Virgen, santuario de Guadalupe, San Felipe, Chihuahua, México’, Intervención, 2, 24 (2021): 248-302, doi: 10.30763/intervencion.256.v2n24.35.2021.[↩]
4. C.R. Pires, L. Carlyle, K. Seymour et al., ‘An Investigation into the Suitability and Stability of a New Pigmented Wax-Resin Formulation for Infilling and Reintegration of Losses in Paintings’, Journal of the American Institute for Conservation, 63, 3 (2023): 168-189, doi: 10.1080/01971360.2023.2172130.[↩]

In the chilly workhalls of Den Argentin, former dockworkers and stevedores work steadily on. With seasoned hands and a wealth of experience, they dedicate themselves to breathing new life into old machines and tools. It is tough work, especially in winter, but their motivation is stronger than the cold. They understand the value of this heritage and refuse to let their knowledge and craftsmanship fade away. Here, amid the scent of oil and the sound of scraping metal, the spirit of the port remains alive.

Jan and Julien – mechanics

“We are standing next to the heaviest forklift we have. It comes from Westerlund and was made in Germany. For seventeen years, it stood outside, exposed to the elements. When it arrived here, it seemed like a hopeless case. The steering was full of water—we removed that—and the entire vehicle was seized up with rust.

The engine and pump were completely corroded, but we restored them step by step. My good friend and colleague Julien overhauled the cylinder head and reassembled it, and that’s how we eventually got the forklift running again. It drives now, but unfortunately, lifting is no longer possible. Some parts we managed to find at a vintage equipment dealer in the south of France.

This forklift weighs 7 tons and was originally capable of lifting 5 tons. Normally, it would have a Perkins engine—an English engine—but this one is exceptionally fitted with a sixty-year-old Mercedes engine. Mercedes was known to be more reliable than Perkins, which is why this engine was widely used at the docks.

Freddy repainted the vehicle, and now we are working on the final touches. The importer was particularly enthusiastic about this forklift because so many original parts are still intact.

What makes this forklift extra special is the removable counterweight at the back. The city’s cranes could only lift 5 tons, and since the forklift itself weighed 7 tons, it couldn’t simply be hoisted into a ship’s hold. That’s why the 3-ton counterweight was detached, splitting the machine into two parts of 4 and 3 tons. Once inside the hold, the counterweight was reattached using a special safety bolt.

That safety bolt was crucial because, without it, the counterweight could come loose. Unfortunately, maintenance was sometimes neglected, and the bolt wasn’t always installed. People assumed the weight would stay in place within a groove in the chassis, but with heavy rattling, it occasionally came loose. This could lead to serious accidents—and it did. A forklift like this has a long history behind it, with many dangers and lessons. We do our best to bring it back to life, but always with respect for the past and the people who worked with it.

Fred – electrician in the chemical sector

“Antigoon was a neglected child, abandoned at the docks. The crane was eventually taken on as a school project with the intention of restoring it. The school completely dismantled the crane but never reassembled it. That’s how it ended up here, at Den Argentin, in pieces on pallets.

With several people, we started working on it, and now, after four to five years, it is almost finished. All the original parts have been recovered, except for the bodywork. It was in such poor condition that we could no longer use it. We did keep the old bodywork, but we completely recreated a new one, with an identical paint color and lettering.

The crane is no longer operational because some engine parts are missing and can no longer be found. However, the engine itself has been completely reconstructed and is visible. Starting it up would be too dangerous, as the safety mechanisms no longer work. The crane would keep pulling, keep moving… That’s why we chose to set it up permanently, so it perfectly showcases how it originally looked and functioned.

We are now in the finishing phase. The exterior still needs to be fully lacquered, the interior further cleaned and also lacquered. In addition, the crane will receive an anti-rust treatment, and the underside will be completely coated. For the hoist, we did not use cables but ropes of similar thickness to demonstrate how the hoist was originally guided.

In addition, we are working on the restoration of a small 100 kg bascule scale so that it can once again weigh with an accuracy of up to 10 grams. These antique scales are extremely precise. The difference between a bascule and a tripod scale—both types of weighing instruments—is that the bascule operates on a ratio of 1:10 or 1:100. To weigh 1 ton, you only need to counterbalance it with 10 kg. With a tripod scale, the ratio is simply 1:1. Moreover, a bascule is more compact and easier to transport, whereas a tripod scale is more cumbersome to dismantle and more prone to damage during transport.

Visitors can place weights themselves and experience how precise these devices are and how heavy certain port objects weigh. We also have a larger one of 1000 kg, a KN3. The question remains: do we leave these devices in their aged state, marked by the passage of time, or do we repaint them to restore their original appearance? Sometimes, it is easier to repaint a device and then bring it back to its original state.

Roger – miller

“When we work on these old machines, it feels like we are bringing a piece of history back to life. In front of us are an overhead-driven drilling machine and a bandsaw, both witnesses to an era where craftsmanship and mechanical innovation went hand in hand. But the passage of time has left its marks: rust, moisture damage, and wear threaten to diminish their historical value. That’s why we do everything we can to clean and restore them with respect and care.

Our first step is always a thorough cleaning. We carefully degrease the machines, remove dirt and dust, and sand the affected parts. Then, we lubricate the necessary components again to protect them from further corrosion. Although we cannot make the machines operational again—both for safety reasons and due to current regulations—we can preserve them as best as possible so that they remain a tangible part of our heritage.

Take the old bandsaw for woodworking, for example. This type of machine was originally powered by a motor, an advanced technique for its time. The drilling machine next to us is even rarer. We can hardly find any documentation on this model, and how the drive belts were arranged remains a mystery. I search through archival records dating back to 1820, but so far, I have only found sketches without any indication of the drive system. This makes the restoration all the more challenging—and fascinating.

Some devices in our collection surprise us with their advanced technology. One of the machines we are currently working on dates back to 1820-1830 and features a fully overhead drive system. Moreover, it has multiple drive mechanisms, which is remarkable for that period. This demonstrates how progressive people already were in thinking about automation and efficiency in the workshop.

Our volunteer Julien can assess the historical value of these machines like no other. During his career, he worked with similar devices and remembers how they were used in the port to repair tools and equipment. His stories bring history to life and provide valuable context for our restoration work.

Thanks to these efforts, we can not only keep the past tangible but also showcase the evolution of technology and craftsmanship to future generations. These machines may no longer be operational, but their story continues to live on.”

Freddy – driver of cranes and tractors

I am currently working on refreshing a port tractor—a powerful workhorse capable of both pushing heavy loads and carrying out repairs. This is an intensive process in which I first thoroughly degrease the tractor and then repaint it.

This particular tractor has a powerful front push function used to move train wagons and other heavy materials. At the rear, a welding machine is mounted, allowing it to be used for repair work as well. This makes it a versatile machine, although the push function and the welding unit were not always perfectly compatible.

I have been working on this project for several months and am now focused on repainting and refreshing the power unit and the drive motor. These components are crucial for the operation of the welding unit. Through this maintenance and renovation, the tractor not only gets a refreshed appearance but also remains in optimal condition for the heavy tasks in the port.”

Martin – dockworker and crane operator

“My role within Den Argentin is to continue an important mission: the preservation and accessibility of port heritage. We are committed to showcasing the highlights of our collection to visitors and providing guided tours. Additionally, we document disappearing professions, the old port, and the many anecdotes associated with it.

Another important task is recruiting new volunteers, as people drop out every so often. Thanks to my network, which includes many older individuals with niche knowledge, we can verify valuable information and restore the collection accurately. Additionally, I continue to actively promote Den Argentin, inviting groups to discover our open workshop. It is especially motivating for my colleagues and me to share our progress with visitors, who often share the same nostalgia for this heritage.

Unfortunately, a lot of valuable experience and knowledge is lost over time. Fortunately, people know where to find me when old port equipment is at risk of disappearing. For example, three Westerlund forklifts have been saved from the scrap heap here. Many hangars where outdated port equipment was stored have already been demolished due to asbestos or the risk of collapse. Today, the care for port heritage is increasingly left to private initiatives, as governments reduce their involvement. As a result, much valuable heritage disappears before we can save it, simply because it is discarded and destroyed.

That is why we, as dockworkers, are especially grateful that an art foundation like The Phoebus Foundation is so dedicated to restoring and preserving port heritage. Thanks to their efforts, our history continues to live on and can be cherished by future generations for decades to come.”

Harry – first a stevedore, then commercial director at Seaport Terminals

As a volunteer, I am responsible for the administration and archiving of objects within our collection. This means that I document each object with images, titles, and descriptions. So far, we have recorded 1,200 objects, and we continue to expand the collection with additional information: years, the link to the correct nation, and the location where these objects were in the harbour.

In addition to archiving, I give tours to visitors alongside other volunteers. During these tours, I provide a general explanation about the harbour, while my colleagues share their expertise on the objects they are restoring.

When a new object arrives, we begin the registration process. We measure it, note any damage, and start describing and dating it. We also try to determine which nation the object once belonged to. Sometimes, we come across disappeared nations, which requires additional research: where were they located, and during which period were they active?

Our collection is now 95% inventoried. For some objects, such as pirrewits or jute sacks, we have so many variations that we only record a selection of the most interesting specimens.

In addition, I act as an intermediary between our team on-site and the administration of The Phoebus Foundation. They support us with orders, deliveries, advice, guidance, and research, so we can carry out our work here efficiently.

It is remarkable to be part of this project and to make the history of our harbour tangible for the public.”

Den Argentin is open for group visits every Thursday upon request.

Restoration and conservation techniques are constantly evolving: materials and methods are updated based on new technologies and discoveries. To stay informed about the latest developments, we frequently organise workshops in our restoration studio where specialists share their expertise with us. In December 2024, we were particularly honoured by the visit of Dr. Ehab Al-Emam from Sohag University in Egypt. He earned his PhD at the University of Antwerp on the application of polyvinyl alcohol-borax/agarose (PVA-B/AG) systems for cleaning artworks.¹ Dr. Al-Emam successfully used this method to find a solution for removing deteriorated consolidant and thick soot layers from porous wall paintings in the temple of Seti I in Abydos, Egypt.^{2 3} Thanks to this method, aged varnish layers have also been safely removed from a wall painting in Antwerp.⁴

During the two-day workshop, our restorers were immersed in the theory and practice of PVA-B/AG systems, which we will refer to as ‘gels’ for simplicity. The first publication on the use of polyvinyl alcohol-borax (PVA-B) gels in restoration practice dates back to 2009.⁵ The application has been further refined and developed in recent years, including the combination with agarose (AG) gel‎. Blending PVA-B with AG gels creates a hydrogel with a double network. This has the advantage of bringing together the positive properties of the two systems while decreasing the negative ones. For example, PVA-B gel has low mechanical strength, causing it to adhere (or stick) to porous materials, potentially leaving residues on the artwork when peeled off. On the other hand, AG gel is very rigid and does not adhere to porous surfaces. However, its disadvantage is that it is rigid, making it almost impossible to adapt to the relief or structure. Thus, the contact with the artwork’s surface is not homogeneous. Blending PVA-B with AG gel results in a highly suitable medium for treating artworks as the gel can be safely peeled off from the (porous) surface without leaving residues. The workshop focused primarily on the preparation of PVA-B/AG gel and its application for cleaning paintings with discoloured varnish layers. It also included information on how to optimize several parameters to obtain the best cleaning results.

One of the key properties of PVA-B/AG gel is that it can retain liquids (including the cleaning agent) and release them gradually on the paint surface. This is particularly useful when the paint or the support of the painting is very porous. By placing the gel on the surface of the painting, the solvent in the gel can soften the varnish, allowing it to be partially absorbed by the gel and then removed shortly after with a cotton swab or compress. An additional advantage of the gel is that the contact time with the solvent can be precisely timed to avoid the penetration of the solvents into the sublayers of the painting and limit the cleaning action on the interface between the gel and the treated surface. Due to the gel structure, the volatile solvent also evaporates less quickly, which is safer for the restorer as they are less exposed to solvent vapours.

Practice leads to perfection. Therefore, our restorers will continue experimenting with the use of PVA-B/AG gels in the coming months. They will not only test and adjust the recipes as needed but also apply the gels in their various restoration projects. Specifically, they will focus on choosing the proper concentrations of the gelling material, the cleaning agents that can be incorporated into the gel, and the contact time between the gel and the artwork, in order to efficiently remove the varnish layers. Exciting times are ahead in the studio!

1. E. Al-Emam, Cleaning of Wall Paintings by Polyvinyl Alcohol–Borax/Agarose (PVA–B/AG) Double Network Hydrogels: Characterization, Assessment, and Applications, doctoral dissertation, University of Antwerp, 2021.[↩]
2. E. Al‑Emam, A. Ghafour Motawea, K. Janssens & J. Caen, ‘Evaluation of Polyvinyl Alcohol–Borax/Agarose (PVA–B/AG) Blend Hydrogels for Removal of Deteriorated Consolidants from Ancient Egyptian Wall  Paintings’, Heritage Science, 7, 22 (2019): 1-18, https://doi.org/10.1186/s40494-019-0264-z.[↩]
3. Al-Emam, E., Motawea, A.G., Caen, J. et al. Soot removal from ancient Egyptian complex painted surfaces using a double network gel: empirical tests on the ceiling of the sanctuary of Osiris in the temple of Seti I—Abydos. Herit Sci 9, 1 (2021). https://doi.org/10.1186/s40494-020-00473-1.[↩]
4. Al-Emam, E.; Beltran, V.; De Meyer, S.; Nuyts, G.; Wetemans, V.; De Wael, K.; Caen, J.; Janssens, K. Removal of a Past Varnish Treatment from a 19th-Century Belgian Wall Painting by Means of a Solvent-Loaded Double Network Hydrogel. Polymers 2021, 13, 2651. https://doi.org/10.3390/polym13162651.[↩]
5. E. Carretti, S. Grassi, M. Cossalter, I. Natali et al., ‘Poly(vinyl Alcohol)−Borate Hydro/Cosolvent Gels: Viscoelastic Properties, Solubilizing Power, and Application to Art Conservation’, Langmuir, 25, 15 (2009): 8656-8662.[↩]

In the 1630s, the Antwerp-born Peter Snayers painted the Siege of Horn. Although less known today, he was a famous battle painter in his time. He worked in Brussels, where his main patrons were based: the court and military commanders. They were eager to have their own triumphs and those of their predecessors immortalized.

Although his war scenes are particularly detailed, Snayers did not go to the front to gather information. He painted his usually very large canvases in his studio, basing them on prints and reports from military engineers and other eyewitnesses. This makes Snayers’ depictions extremely precise. This also applies to the Siege of Horn, which depicts the attack on that Austrian city during the Eighty Years’ War.

It strongly appears that Snayers painted the Siege of Horn on commission from the successful Spanish commander Diego Mexía de Guzmán, the Marquis of Leganés. Besides being a military strategist, he was a true art lover and owned an extensive painting collection. As evidenced by the preserved inventory, the Marquis collected works by the leading masters of his time, such as Peter Paul Rubens and Frans Snijders. Snayers’ Siege of Horn is also mentioned in it!

The restoration of the Siege of Horn is a particularly exciting and challenging project. Over the centuries, the canvas has endured a lot. It was enlarged, visible by the added strip at the top and the different craquelure patterns in the paint layer. It was also heavily overpainted. Removing these non-original paint layers requires an extremely meticulous and careful approach.

Currently, restorers Jill and Ellen Keppens have started the first phase of the treatment. They were able to relatively easily remove the top varnish layer and the first layer of overpaint. These overpaints are lighter in tone than the underlying parts. Normally, you would expect the opposite: that colors become lighter after removing varnish and overpaints. Under the first layer, they found older and discolored remnants of varnish, oil, glue, and retouches. These remnants make the restoration complex because they are often very difficult to remove.

The piercing eyes of a horse or an unexpected figure reveal the excellent painting quality of the facial expressions. These surprising details unveil a glimpse of the original splendour of the painting and serve as a reference for further treatment. The many powerful details, such as the expressive faces, dynamic troop movements, and wild horses typical of Snayers, will be carefully restored in the second phase of the treatment.

In that phase, Jill and Ellen will also remove stubborn retouches. Where complete removal is impossible, they will ‘thin’ them to create a harmonious overall experience. They will then apply a protective intermediate varnish and begin filling in gaps and retouching. Finally, the canvas will receive a final varnish layer, and Snayers’ Siege of Horn will once again be admired in all its glory.

Jill and Ellen are at the beginning of a long journey. Every day brings new insights and unexpected details to light that deserve the necessary time and attention. This makes this restoration treatment not only challenging but also immensely fascinating. And one thing is certain: the end result will be worth the precision work.

Want to know more about battle painter Peter Snayers? Then also read this Phoebus Finding.

In an earlier article, we informed you about our treatment of the panel depicting the Apostle Peter with the centurion Cornelius (ca. 1560–1600), attributed to Maarten De Vos. This was a challenging treatment, because the painting was covered by layers of grime, old varnishes and overpaint, and the support was in poor condition. However, as is often the case, the oak panel was in poor condition. The boards showed multiple complex cracks, and the panel joints no longer aligned. Additionally, earlier restoration attempts had caused further damage to the wooden support. Therefore, the structure has been reinforced, and the panel will also be supported from the back.

The cleaning of the painting revealed a painted surface that was degraded by aggressive past treatments. It was also disfigured by stains due to chemical reactions in the paint. Luckily it preserved beautiful details as well: bright colours and the great quality of the portraits. But all in all, a structural treatment needed to take place.

Most structural issues of the painting derived from misguided past treatments and bad quality of the support. This had become reactive overtime and had warped. Woodworm and an original rigid framing had caused the first fractures and the disjoint of the bottom board before the damage caused the cradling of the painting. Cradling, a treatment not commonly used today, involves thinning the panel and attaching a rigid grid to the back to help support and straighten the painting. The panel rejected the cradle, causing it to partially come off and leading to severe cracks, flakes, and blisters in the paint layers. While further damage often happens with cradling, it’s usually not as dramatic as this.

Their job was to fix the panel and also address the issues that caused the damage. The goal was to restore its structure and improve the surface’s shape and level. With this in mind, Sara Mateu and Brian Richardson, along with Franziska Bunse, started the repair work earlier this summer.They removed the cradle and cleaned off the glue residue. Once they had a clear view of the back, they separated the boards that had come apart before. This let them clean the old glue left in the joints and cracks from past repairs.

Being the biggest panel ever treated in the studio, they built a custom-made gluing bridge – a temporary structure used in the conservation and repair of artworks – that could comfortably accommodate its size.

They started by fixing the smaller and easier fractures before tackling the more complicated damage. The panel had a serious compound fracture in an area affected by woodworm. These fractures are hard to repair because they go into the woodworm tunnels and come out somewhere else, making it hard to connect the damage seen on the front and back. Repairing some of these fractures needs a special technique that ensures a lasting fix but removes original material, so it’s only used for the worst cases.

The panel responded very well to a less invasive approach and they were able to treat all fractures and rejoin all boards with their standard approach. Despite being successful with the repairs, the panel remains weak and requires additional reinforcement.

The next step will be to create and attach a support to the back of the panel.

Singelberg, located on the Schelde in the industrial port, offers a stunning contrast between the unique setting and the works of masterful artists such as Minnebo, Atelier van Lieshout, Pablo Atchugarry, Michael Aerts, and many others. However, this location also presents challenges, such as the impact of air pollution and freshwater on the sculptures. Therefore, a preventive approach is essential.

Ayenew focuses on the conservation of architectural heritage in his doctoral research, using various analytical methods based on measuring the outdoor climate. Thanks to his expertise, he is working with Shimels to assess the damage to the sculpture park. The condition of both the outdoor and indoor sculptures has been carefully inspected and documented. Many of the sculptures were treated preventively a year ago; for example, some bronze sculptures received a new layer of wax, while marble sculptures were cleaned and checked for mechanical damage. By maintaining the annual inspections, the impact of the outdoor climate on the sculptures is increasingly well documented and predicted.

Ayenew Sileshi Demssie is a doctoral student at the University of Antwerp, specialising in conservation and restoration.

Over the past month and a half, he has focused on inspecting and documenting the condition of paintings, sculptures, and other artworks. His work included preparing detailed condition reports, cleaning sculptures using dry techniques, and identifying potential risks for future intervention.

Ayenew found that most artworks are in good condition but emphasised the need for ongoing inspection and intervention to ensure their long-term preservation.

Shimels has extensive knowledge in the conservation of historical books, specialising in Ethiopian Coptic manuscripts on parchment. This expertise proved invaluable while studying The Phoebus Foundation’s book collection. In his doctoral research, Shimels focuses on the preventive conservation of historic parchment. As a result, he has been able to identify various types of parchment and, under the guidance of conservator Oliver Claes, carry out several conservation projects, including cleaning pages using mild solvents and dry techniques.

Shimels Ayele Yalew is a lecturer at Bahir Dar University in Ethiopia and a doctoral student at the University of Antwerp, with a BA and MA in History and Heritage Management.

At The Phoebus Foundation, his tasks included assessing the condition of various artworks, such as books, paintings, and sculptures, preparing detailed condition reports, and carrying out cleaning activities.

Ayenew and Shimels reviewed a total of over 90 artworks. Additionally, they examined an important series from Pedro Figari’s oeuvre and gained insight into the impact of oil paint on pressed cardboard. They also assessed and documented the works currently on display at the CoBrA Depot. This collection, with its wide variety of artists’ materials, is extremely sensitive. Updating condition reports is essential to ensure the state of the collection. Their contributions this summer were therefore of great importance, and the experience was immensely valuable.

Based on their findings, The Phoebus Foundation’s atelier will adjust its approach and may involve a specialised team for this ongoing conservation. This presents a significant but exciting challenge!

Visitors often arrive by bike or via the waterbus to the site. Since the restructuring of the tours and guides at The Phoebus Foundation, it is now also possible to book a guided visit. Weekend reservations are free but mandatory to ensure visitor safety.

The damage primarily affected the structure of the painting. Two joints (the top and bottom) were completely open, and many cracks weakened the panels.

Although the restorers acted to the best of their knowledge at the time, this wooden strainer was not beneficial for the painting’s wooden support in the long term. Additionally, an old woodworm infestation locally weakened the panels. Under the guidance of Sara Mateu, we removed this old, dysfunctional wooden strainer.

To conserve the cracks and open joints and to properly re-glue them, the top and bottom panels were then dismantled.

The artworks from The Phoebus Foundation’s collection have once again crossed the Atlantic Ocean, this time to reach their destination in Montreal, following last year’s stops in Denver and Dallas. In The Phoebus Foundation’s restoration workshop and storage facility, the loaned pieces were meticulously handled and packed in the safest possible manner to ensure they would arrive at the museum without any damage. In total, 130 artworks traveled by plane to Canada, requiring careful coordination and planning for the transport!

Upon arrival at the prestigious Montreal Museum of Fine Arts, after a long journey, the installation of the artworks could begin. Collaborative teams from the museum and The Phoebus Foundation carefully unpacked each piece, followed by a thorough condition check. Although the artworks were packed in airtight and shock-resistant crates, transport is never without risk.

Under the watchful eyes of the restorers and coordinators from both the museum and The Phoebus Foundation, the artworks were carefully installed in their designated places. It is always a significant challenge for curators and scenographers to position the pieces perfectly, ensuring they fit both conceptually and aesthetically within the exhibition space. After a successful installation, the final scenographic adjustments were made, including lighting, signage, and interactive elements.

The painting was in a moderate condition before treatment. It had been lined in the past, but the edges were damaged, causing the canvas to no longer be adequately stretched on the frame. Furthermore, the paint layers appeared dull due to surface dirt and the presence of a yellowed varnish layer. Notably, a significant portion of the background on the left side of the painting had been subject to overpainting.

Removing the old varnish layer resulted in a notable transformation. Previously obscured original colour nuances, like the blush on the cheeks, became more discernible in the face, and a gradient from light to dark in the background became more visible. The removal of the old overpainting on the left revealed an original underpainting, deliberately left exposed by the artist in a vertical strip. The reason for Wautier’s choice in this matter remains unclear, but it seems that this bust might have been painted on the edge of a larger canvas.

An interesting phenomenon in this painting is the presence of many protrusions on the paint surface. Countless small white crater-like formations are visible throughout the entire work. This is the result of lead soap formation, a chemical ageing process in the paint layer. Considering the disruptive visual effect of these light dots, it was decided to retouch the most distracting ones.

After removing the dust, the old patch was treated. The process was highly delicate, but the adhesive was gradually softened and mechanically removed. Additionally, the residue that had penetrated between the fibers was eliminated. The distortion was corrected with controlled weight and humidity, while the original fibers of the canvas were repositioned. Finally, a new reinforcement of synthetic fabric and thermoplastic film layer was applied. As a result, the tear was both volumetrically and chromatically retouched.

As for the stretcher, various options were considered. Ultimately, it was decided to replace it with a new one that meets the requirements necessary for the proper conservation of the artwork. The chosen support is made of high-quality wood with a controlled mobility system.

The artwork was carefully prepared by protecting the edges to prevent potential loss of polychromy during handling. Afterwards, the old stretcher was removed and the back of the canvas was cleaned, removing the accumulated dirt. Subsequently, the artwork was placed onto the new frame and properly stretched to avoid vibrations and aesthetically enhance the accurate representation of the painting.

Curious about where Julio Alpuy’s Eden will be on display? Keep an eye on our website and social media!

Structure and damage pattern of the wooden carrier

The panel consists of three horizontally oriented oak boards, the top one being 26.5 cm wide, the middle one 21.0 cm, and the bottom one 23.0 cm. This is not clearly visible on the back; during previous restorations, the glue joints were covered with veneer, which made the situation very confusing. It is notable, however, that the panel is only 7 mm thick, which is thin for a panel of this size.

An earlier restoration treatment, presumably from the second half of the last century, included the addition of a support structure at the back to reinforce the panel. Despite the attempt to develop a sprung support structure, the system falls short because the window construction is immobile. Saw marks and serrations in the wood suggest that the panel was thinned, possibly long before the 20th-century support structure. The patina on the backside has been partially removed for the support construction, and the cracks and glue seam have been reinforced with V-shaped inserts in walnut, but not all glueing is even, causing level differences at the front.

Removal of support structure

To improve the condition of the panel, Brian first loosened the support structure, including the screws on the back. He cut away the fastening blocks one by one with a gouge and chisel and finely sanded the panel to smooth the glue residue. The remnants of synthetic glue in the wood structure itself were not removed.

Correction of level difference

After removing the support structure, Brian decided to remove the V-shaped inserts – where the level difference to a crack was most disturbing – to open up the crack and improve the level difference. The expectation was that the V-shaped inserts would follow the cracks nicely. Once the inset pieces of wood were removed, only 2-3 mm would then remain where the crack would need to be loosened. Compresses were used to soak off the glue to then open the crack. Next, Brian carefully cut away the V-shaped inserts on the back with different types of wood chisels. Finally, the white glue, with which the inserts had been glued, was soaked loose with acetone and removed so that the notches were completely clean.

New construction

Without support, the panel was too fragile, so Brian placed a new support structure on the back. This system consisted of slats that were glued to the back with fish glue using small blocks. Each slat was slid into grooves in the blocks, creating an equal distribution of pressure across the backside. After this addition, the panel became considerably more stable and again manipulable.

Time to take a closer look at the portrait series. Studying the stretchers, it is clear that the portraits were produced on canvases, presumably made of cotton, and glued to strainers. However, this was not their original display. The irregular profiles reveal that the canvases were once cut from their original stretcher frame and then glued onto a new strainer. The canvases themselves are extremely thin with flat, regular waves, suggesting they were machine-made.

Beneath the blue background, we see a reddish ground, which is visible thanks to the transparency of the paint layers. These are so thin that it is almost impossible to see brush strokes!

Before the paintings came to the restoration studio for treatment, they had a dark, yellowish varnish layer and several overpaintings covering the canvases’ damages and edges. This varnish layer and retouches were also very irregular. The supports themselves were also particularly distorted due to the gluing to the strainer, creating strong tensions between the glued edges and the canvases.

Behind the paint layers

Certain pigments showed greater sensitivity and required extra attention. Additionally, we noted that the paintings had been only partially cleaned during previous restoration treatments and that a darker layer remained in some places (such as the incarnate and accessories of the portraits). After taking off the varnish layers, we also removed several overpaintings from the surface and reduced stains where necessary. Although the paintings initially looked the same, it became clear during and after the cleaning that the conditions of the paint layers and supports were vastly different for each portrait.

Thanks to the removal of the rigid layer on the paintings, the canvases also became looser and distortions reduced significantly in most cases. Many paintings were placed under weights to make the canvas slightly flatter. Areas and distortions that required extra effort were carefully treated with moisture and underwent thermo-treatment.

Furthermore, we also repaired the tears that were present in the canvas of some portraits. To minimise the damage, these tears were flattened and the edges were also aligned. They were then consolidated and supported on the back with a suitable adhesive.

After the structural treatment, a thin layer of natural varnish was applied. This layer acts as an insulation layer for the original surface and helps to saturate the colours after removing the old varnish layers.

The restoration of this exceptional portraits series is still in full swing! After varnishing, our conservators will also continue to fill and retouch the gaps. As a result, the Inca emperors and Francisco Pizarro can soon be admired again in all their glory!

Curious about the results? Keep an eye on our social media and website!

“Due to its complexity, restoring this antique/contemporary display case presented an enormous challenge, but the result was all the more satisfying.”

This month, we take you behind the scenes of our conservation studio, where a new Phoebus Fellow joined the team for three months: Clara Bondia! Clara tells you more about her projects at The Phoebus Foundation:

“During my stay at The Phoebus Foundation, I will also be able to collaborate in the revision of some other works in the Latin American collection of modern and contemporary art, carrying out condition reports and specific interventions. Ultimately, the pieces will be ready to travel and be admired. It is fantastic to work closely with an organization like this, which takes care of the conservation and research of each piece with the best possible means.”

Crazy about Dymphna opened a month ago in Geel! Project coordinator Niels Schalley is happy to tell you more about the construction and installation of this fascinating exhibition:

  “After a two-year delay because of Covid-19, it was fantastic to finally be able to bring the exhibition to the Saint Dymphna Church in Geel. We were eagerly looking forward to the installation of the Dymphna altarpiece in this unique setting. Thanks to the Crazy about Dymphna exhibition in Tallinn, we had already carried out the entire set-up once before and therefore, we were confident that everything would go smoothly.”

  “After a two-year delay because of Covid-19, it was fantastic to finally be able to bring the exhibition to the Saint Dymphna Church in Geel. We were eagerly looking forward to the installation of the Dymphna altarpiece in this unique setting. Thanks to the Crazy about Dymphna exhibition in Tallinn, we had already carried out the entire set-up once before and therefore, we were confident that everything would go smoothly.”

“In tegenstelling tot de locatie in Tallinn, de ontwijde Niguliste kerk, is de Sint-Dimpnakerk nog wel actief. Dit is een enorm voordeel aangezien het Dimpna-altaarstuk op die manier huist tussen de vele verborgen kunstschatten in een van de mooiste kerken van Vlaanderen. De acht panelen van het altaarstuk zijn zo opgesteld dat ze een echte ommegang vormen. Bijhorende sokkels met video’s vertellen razend interessante weetjes en emotionele getuigenissen. Op die manier ontluikt het verhaal van de heilige Dimpna in al haar glorie en facetten.”

Curious? Book your ticket now for only one euro!

Conservators Titania Hess and Laura Guilluy take you behind the scenes of the Phoebus conservation studio!

‘Christ Triumphiant, by Jacob Jordaens, has undergone a full restoration treatment! As the painting was relined during a previous treatment, the canvas was in excellent condition. Therefore, the treatment consisted mainly of the removal of oxidized varnish and encrusted soil. With gentle solvents and aqueous gels, we managed to reveal the original paint layer and its astounding palette. A few retouches and two layers of varnish were the final operations to our conservation treatment.’

‘Prior to this treatment, the painting was subject to an intensive research, realised by Phoebus head conservator Sven Van Dorst. Using technical analysis such as Ma-XRF scans, various changes in the composition were discovered probably due to changes in the sizes of the canvas.

It turned out Jordaens painted a first composition on a less wide canvas! After a time, the Antwerp master enlarged the painting so he could realize the final composition. This enlarging of the canvas has already been observed in other paintings attributed to Jordaens, which are part of The Phoebus Foundation collection. The observation of these paintings was crucial in understanding the technics of the Antwerp great master.’

We start this new year with launching exciting conservation projects at the Phoebus conservation studio! Naomi Meulemans, conservator of the modern and contemporary sub-collections, oversees the restoration campaign of the installation Los Muñecos, created in 1960 by Italian-Argentinian artist Libero Badii (1916 – 2001).

Los Muñecos or The Dolls is an impressive installation of 14 wooden painted sculptures of almost 5 meters high. The instability of the wood and the drastic flaking of the paint layer demand an extensive restoration treatment.  

Each doll bears a title that refers to a social personification. Just like our social connections in society, the sculptures are connected to each other in space by a cable. Moreover, they are also attached by a ‘Tablero’,  symbol for the wheel of fortune.

Conservator Naomi started this campaign already in 2017, with a preliminary study in collaboration with collaboration with conservator and contemporary art specialist Frederika Huys. Additionally, a material analysis was performed in the studio. With surprising results: x-ray photography showed that the current damage is partly a result of the manufacturing process! Together with conservator Giovanna Tamà and the Royal Institute for Art Heritage (KIK-IRPA), the final conservation and research will be executed throughout 2022.

Stay tuned for the result!

As usual at The Phoebus Foundation, conservation and research go hand in hand. A beautiful example is The Virgin of the Candlelight, an anonymous Peruvian work on canvas from the 18th century which is part of the collection Latin-American art from the Colonial period. Conservator Carlos González Juste offers a glimpse behind the scenes of the research and conservation of this remarkable painting!

‘Due to the thinness of the paint layer, it was already visible to the naked eye that there might be a previous painting underneath the current composition. Technical studies (IRR photography, x-ray images, MA-XRF scanning and wood analysis) have confirmed our suspicions and have revealed the existence of a completely finished painting underneath!’

‘With the conservation treatment and research of The Virgin of the Candlelight, we not only try to preserve the physical integrity of the artwork and recover its original colourful and delicate appearance. We also increase our knowledge about the techniques, materials and habits of the 17th and 18th century painting practices in Peru.’

For the exhibition James Ensor in Kunsthalle Mannheim (DE), conservator Naomi Meulemans travelled in 2021 as a courier to Germany to help with the installation of no less than 5 artworks that The Phoebus Foundation gave in loan for this project.

The work of the Belgian artist James Ensor (1860-1949), the famous “painter of masks”, is deeply rooted in the history of the Kunsthalle Mannheim. As early as 1928, the painter was celebrated there in a solo exhibition as an important contemporary exceptional artist. The exhibition in Mannheim focused on Ensor’s famous self-portrait-mask-death-still life motif, which claim an important place in his oeuvre.

The restrictions due to Covid-19 made it quite a challenge for our courier to attend. Naomi, however, managed to oversee the installation of all 5 artworks and made sure that the climate in the museum rooms was controlled correctly – an absolute requirement for these valuable and fragile artworks.

Phoebus Fellow Anna Rota (IT) is happy to offer you a glimpse behind the scenes of her conservation project at The Phoebus Foundation:

‘Despite its small size (25 x 25 cm), this painting by the studio of Joos Van Cleve (1485-1541), immediately attracts our attention. The unusual diamond-shaped support seems to be unique in the artist’s oeuvre and raises questions about the distribution of diamond-shaped paintings in Renaissance painting.’

‘The facial tones, with such a soft transition between light and shadow, can be compared to Leonardo Da Vinci’s “sfumato.” The artist was particularly attentive to detail and used various material tricks: just look at the thickness of the colour layer of the pearls in Mary’s hair or the folds of the white veil along her neckline. Mary’s hair and the faces and hands, on the other hand, are rendered with very thin brushstrokes.’

‘The removal of varnish and retouching has brought back the beautiful colors of the facial tones, as well as some details that were previously less visible. The conservation treatment has allowed us to discover more about the painting technique of Van Cleve and his studio.’

Art historian Anne-Rieke van Schaik (NL) focused during het fellowship on the sub-collection Topography and Cartography. Anne-Rieke is glad to give an insight in her Phoebus Fellowship program:

‘Early modern media, the narrative qualities of cartography, and the intertwining of maps, books and prints in this period are really my cup of tea. As member of the Explokart Research Programme on the History of Cartography (University of Amsterdam) I am working on various projects such as a specialized database and a handbook of historical cartography.’

‘During my Phoebus Fellowship, I examined the wide variety of objects in the rich Topography and Cartography collection of The Phoebus Foundation; ranging from sea charts, military news maps, cityscapes and early world maps to colored atlases, travel books and globes. My job was to perfection the inventory of the objects and to improve the catalog descriptions. The striking research results and treasures of the collection will be made accessible to a wider audience later on, for example in an exhibition or publication.’

Time flies! After more than seven months, we said goodbye to the city of Tallinn at the end of November 2021, where we organized the exhibitions From Memling to Rubens and Crazy about Dymphna at the Kadriorg Museum and the Niguliste Museum. It was such an honour to travel abroad for the first time ever with our extensive collection of old masters! We are extremely grateful to our partners in Estonia for this unique opportunity. Due to their great success, both exhibitions were extended by one month so that visitors could enjoy these masterpieces even longer. At the beginning of December 2021, the team of The Phoebus Foundation travelled to snowy Tallinn to supervise the dismantling of the exhibitions and to bring all the art works back home.

Collection registration and beautiful books don’t exist without perfect images. Take a look behind the scenes of our photo studio where our photographers capture various artworks with their lenses. Michel is happy to tell you more about this fascinating and challenging task.

Is there a great difference between the photography of artworks and other photographical genres?

‘Fine art photography really is a specialization. Most people think we just put a painting or sculpture in front of a white fond, we press a button and that’s it. It’s not that easy in reality. The photography of artworks is very technical because of the large diversity of objects. A glass vase, a manuscript or a painting each demand their own setting and lighting. Moreover, they need to be adjusted over and over again during the photoshoot. In fashion photography for example, the lighting is fixed and the model tries different poses to get a perfect picture. In art photography it’s the photographer who needs to play with light and shadow because the object doesn’t move obviously! (laughs). It’s always a new puzzle that needs to be solved.’

Where does your specialization and fascination for fine art photography come from?

‘By accident! One of my first jobs was the photography of two terra cotta vases of the Dominican Republic for an advertisement. I have been photographing for various institutions and projects ever since. After all these years, it is still an enrichment for me. The variety of objects I get to see through my lens is extraordinary! I also get the chance to have a close look at the artworks and I often discover remarkable details.’

Which type of object do you like the most?

‘Definitely sculptures. In most cases, every side of the artwork has been embellished as if the sculptor wants you to walk around. As a photographer I always try to find the best angle in order to display the sculpture as vividly as possible. It really is an experiment with light and shadow.’

Discover a very special part of The Phoebus Foundation’s collection: Maritime and Logistic Heritage! A team of enthusiastic volunteers is in charge of the daily routine of this extraordinary collection. As retired dockworkers with a passion for heritage they know this collection of historical risers, tractors, trucks, and measuring and weighing devices like the back of their hand. Every week, the group gathers together in the warehouse Argentin in the northern part of Antwerp to work on the conservation and the accessibility of the collection.

For some of our volunteers, a port heritage day already starts before dawn. Early bird Juul is always out and about at 6 AM. One after another, colleagues arrive and join the group. Around 8:30 AM there is a small meeting to discuss the daily schedule whilst enjoying a cup of coffee. All volunteers have their own unique background and expertise which makes everyone an essential member of the team. Juul and Roger are specialists in welding; Freddy knows all the secrets of tinkering and electrotechnics is Fred’s cup of tea. This diversity makes it possible to work on multiple large projects at the same time. An important element of their tasks is also the conservation of rare heritage objects. “The current major project we are working on is the Antigoon crane”, Fred explains. “It is a port vehicle of the early fifties and probably the last example left of its type. With lots of patience and effort, we managed to complete the mechanical work. It certainly wasn’t a piece of cake because we didn’t have a single plan or piece of documentation. Luckily we could count on the craftsmanship and expertise of our team members to solve these problems together.”

In small groups, the volunteers diligently continue their work. Painting, sanding, welding, restoration of all possible tools,… before you know it, it is time for a well-deserved coffee break where our volunteers share their memories from ‘good ol’ times’. “This is very important to us”, Harry, the youngest of the group, explains. “After retiring as commercial manager in the port industry after 43 years, I am grateful I could become part of this team. I have always been intrigued by history and I am happy I can contribute to the Logistics and Maritime Heritage here. Even though I don’t have a lot of technical expertise, I can cooperate in the large valuation project of the collection. We make sure every object is measured, catalogued and photographed. Some pieces are truly unique and have an extraordinary history, which always fascinates me. The many stories and interesting anecdotes bring the items back to life.” The other volunteers share the same passion and motivation.

The team has completed many large conservation projects throughout the years. This is essential to volunteer Martin. “Our aim is to preserve the maritime heritage for future generations. The Antwerp port and her workmen are world famous because of their craftsmanship and professionalism. Sadly, this history is getting lost rapidly. The generation of whom I learned the tricks of the trade is now between 75 and 91 years old. Acts and tools from back then are no longer in use. Therefore, it is our task to pass on this important heritage to the future generations. We hope to realize this with our efforts in the Argentin warehouse.”

Until 12 PM the team collaborates on various port heritage projects. Then, it’s time for a well-deserved lunch. Volunteer Jacques, who has been a ship’s cook for years, often surprises the team with soup or a home-cooked meal. Old memories and various port anecdotes are shared around the table. Together, the volunteers dream about the future. “Hopefully, we can reopen our doors for group visits soon. This way, we can share our passion and moreover this exceptional collection with a broad audience again.”

Take a look behind the scenes at the restoration treatment of one of the oldest oil paintings from the collection of The Phoebus Foundation. Dating from c.1418-25, the artwork is even older than the famous Ghent Altarpiece by the brothers van Eyck (1432). Consisting of four panels, dedicated to the Virgin Mary, it was probably originally part of a larger altarpiece.

If you look closely, you can see that the artist was already very progressive by casting shadows on his figures, giving them a three-dimensional character. However, a technical cast shadow is still missing, which indicates that we are at an important turning point in Western art history. For this reason, we recently decided to start an extensive conservation treatment. During the treatment we hope to learn more about the geographical origin of the panels and about the methods and materials used by the painter.

At the start of the restoration it turned out that both the execution and the gilding on the panel were in good condition. The treatment mainly provides for the removal of discoloured and outdated layers of dirt so that the sparkling colours can be visible again. Special care is required, especially on the fragile gilding. In the 15th century, the artist made small impressions in the gold leaf by using metal awls or punches in order to obtain the floral motifs in the upper part of the painting (heaven) which make this work so special. By removing the varnish and dirt, these motifs finally became visible again.

The conservation treatment is spread over 3 years and is carried out by Sven Van Dorst, head of the conservation studio of The Phoebus Foundation, in collaboration with Hilde Weissenborn, an independent conservator specialized in the treatment of 15th and 16th century Flemish masters.

Especially for At home with Jordaens, various works by Jacob Jordaens underwent an extensive conservation treatment. Conservators Jill and Ellen Keppens take you behind the paint layers of The Sleeping Antiope Approached by Jupiter (1660).

‘This painting reminded us of an old acquaintance! A few years ago, we restored a nearly identical sleeping beauty by Jordaens: Psyche. This time, it’s Antiope, accompanied by Jupiter who, disguised as a satyr, removes the cloth from her body.’

‘Jordaens and his contempories fancied erotic themes like this and especially the contrast between Antiope’s porcelain naked skin and Jupiter’s ugliness. This contradiction, however, became completely covered by a thick layer of varnish. When the varnish and the old retouches were removed, not only the beautiful colours but also Jordaens’ sketchy technique came to light again. The eagle’s wings are painted with a few quick brushstrokes of diluted brown paint, under which the grey colour of the ground layer shines through. In the feathers, Jordaens also applied a few thick, bright blue strokes.’

‘These sketchy areas and the rather limited format cast doubt on the purpose of this painting. Was it a finished work of art? Part of an elaborate preliminary study? Or did it serve as an example for a client? Whatever the case, The Sleeping Antiope is currently back at home with Jordaens at the Frans Hals Museum in Haarlem!’