The Deposition of the Cross – Domingos António Sequeira

This large-scale composition by Domingos António Sequeira is executed on canvas supported by a later stretcher, which, although not original, provides sufficient structural stability. The canvas had previously undergone a strip lining, which remains in good condition and was therefore preserved. Minor slackness in the fabric had caused surface undulations, addressed through careful adjustment of the tensioning system. The ground layer, composed in the traditional manner using calcium sulfate and animal glue, exhibited generalised cracking consistent with environmental fluctuations over time. While these craquelure patterns affected the surface appearance, the underlying structure remained stable. The painted surface was largely well preserved but showed evidence of previous restoration campaigns. Areas of overpainting—particularly in the sky and lower sections—extended beyond their original function and partially obscured the artist’s intent. A dense, coloured varnish from an earlier intervention had significantly altered the tonal balance, imparting an overall orange cast that diminished depth and legibility. Further examination revealed the dual nature of the composition: finely executed passages with detailed brushwork coexist with less resolved areas, suggesting stages of completion. Earlier restoration efforts had attempted to unify these areas through heavy varnishing rather than conservation-led integration. The conservation process began with detailed photographic documentation and analytical imaging, including ultraviolet and raking light, to identify overpainting, varnish layers, and surface irregularities. Cleaning was then carried out in two phases: the removal of oxidised surface varnish and accumulated dirt, followed by the reduction of older overpainting and discoloured varnish layers. This process allowed the original tonal relationships and compositional depth to re-emerge. Chromatic reintegration was undertaken with a restrained approach, using reversible materials. A base layer of colour was applied where necessary, followed by fine tonal adjustments to restore visual continuity while respecting the distinction between finished and unfinished passages. A final protective varnish layer was applied to unify the surface and enhance colour saturation, ensuring both visual coherence and long-term protection. The painting is now presented in a stable and balanced condition, allowing a clearer reading of Sequeira’s composition and artistic process.

Each restoration is guided by three principles: Respect for the original material, reversibility of all interventions, and clarity of the artist’s intent. At Colnaghi, conservation is both a technical and scholarly process—preserving not only the physical object, but its historical and artistic meaning.