Nose after retouching in profileNose after retouching in profile
Sculpture before conservationSculpture before conservation
Base and feet showing old cement fillsBase and feet showing old cement fills
Structural support frame necessary for lifting and realignmentStructural support frame necessary for lifting and realignment
Re-attaching sections with modern materials and methodsRe-attaching sections with modern materials and methods
Base and feet after realignment, awaiting filling and retouchingBase and feet after realignment, awaiting filling and retouching
Base and feet after fillingBase and feet after filling
Base and feet after restorationBase and feet after restoration
Work in progress on the filling of the shoulderWork in progress on the filling of the shoulder
After attachment and filling of the shoulder, awaiting retouchingAfter attachment and filling of the shoulder, awaiting retouching
After attachment and filling of the noseAfter attachment and filling of the nose
Nose after restorationNose after restoration
Sculpture after restorationSculpture after restoration
Francis Toohey is justifiably proud of his workFrancis Toohey is justifiably proud of his work
  • Nose after retouching in profile
  • Sculpture before conservation
  • Base and feet showing old cement fills
  • Structural support frame necessary for lifting and realignment
  • Re-attaching sections with modern materials and methods
  • Base and feet after realignment, awaiting filling and retouching
  • Base and feet after filling
  • Base and feet after restoration
  • Work in progress on the filling of the shoulder
  • After attachment and filling of the shoulder, awaiting retouching
  • After attachment and filling of the nose
  • Nose after restoration
  • Sculpture after restoration
  • Francis Toohey is justifiably proud of his work

This classical marble figure is attributed to D.V. Florence and measures nearly one metre high. It arrived at Plowden & Smith’s workshop with various old repairs, losses to the carving and a partially degraded surface. The figure had, in the past, broken free from its base and the right ankle had been damaged as a result. Past restoration resulted in misaligned joints which were overfilled with cement and the figure had various lost components including his nose and a finger. Numerous unsightly and discoloured deep erosion channels were visible running vertically on the figure.

The conservation and restoration treatment objectives were to:

  • Re-align the figure and remove old over-filled repairs
  • Restore the areas of loss to reinstate its form in order to achieve maximum aesthetic appreciation

It was necessary to remove the cement with careful, mechanical picking. To enable the safe dismantling of the base and shattered foot, a wooden support frame was constructed, which also allowed the components to be reassembled with a much improved alignment. Firm yet flexible internal dowels were installed and the joint was sympathetically colour matched. The lost components were re-carved from a new block of marble and reinstated to appear as invisible repairs. The carved marble restoration was carefully shaped to fit the areas of loss. This is a much more time consuming but ethical process than the more common method of cutting back the original break edges to square them off, as it retains all of the original material. The erosion channels were also filled and carefully toned-in to blend with the rest of the figure. All of this restoration work is fully reversible.

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