Treatment Plan for the Thomas Summers Adlington Painting

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Treatment Plan for the Thomas Summers Adlington Painting by Mind Map: Treatment Plan for the Thomas Summers Adlington Painting

1. Unframing

1.1. Removal of the painting from the frame

1.2. Materials

1.2.1. Plastazote

1.2.1.1. Protect the painting and the table

1.2.2. Silicon release paper

1.2.2.1. Protect the painting and the table

1.2.3. Four different sized screwdrivers ranging from medium to small

1.2.3.1. To remove the crossbar from the back of the frame

1.2.3.2. The nails were so rusted. A small screwdriver was used first to dry a loosen the crossbar, then gradually increase the size of the screwdriver

1.2.4. Four pieces of Melinex

1.2.4.1. To protect the frame, crossbar, and stretcher from the screwdrivers

1.2.4.2. As the nails were so rusted the was still damage caused to the frame even with the Melinex

1.2.4.3. To protect the frame and stretcher from the pliers when removing the nails

1.2.5. Pliers

1.2.5.1. Removal of eyelets, rings and wire used used for hanging

1.2.5.1.1. Wire looks to oxidised copper, this is likely due to the age

1.2.5.1.2. Eyelets and rings have rusted with age

1.2.5.1.3. Slight removal of wood then the eyelets were removed

1.2.5.2. Removing the nails from frame to remove the painting

1.2.5.2.1. There were nine nails removed, however, there were holes for twelve nails

1.2.5.2.2. Nails where badly rusted and bent making then difficult to remove

1.2.5.2.3. Not all of the nine nails where holding the painting in the frame, and with three nails missing, a crossbar was added to keep the painting in the frame

1.2.6. Hammer

1.2.6.1. To help remove the rusted nails from the frame even

1.3. The removal of the frame show the true condition of the painting

1.3.1. Deformations

1.3.2. Taking margins coming away from the stretcher

1.3.3. Dirt

1.3.4. Tears

1.4. Health and safety

1.4.1. Wear the correct PPE

1.4.1.1. Lab coat

1.4.1.2. Gloves

1.4.2. The hammer and the screw drivers could cause the most damage to and painting and persons involved

1.4.2.1. Make sure fingers are at a safe distance away when using

2. Technical examination

2.1. Examination and documentation of paintings

2.2. Types of photography used:

2.2.1. Visible light

2.2.1.1. Condition of the painting seen by the human eye

2.2.1.2. Tears in the canvas

2.2.1.3. Discolourations

2.2.1.4. Deformations

2.2.1.5. The colour palette the artist might have used

2.2.2. Raking light

2.2.2.1. Topography of the painting

2.2.2.2. Deformations

2.2.2.3. Craquelure patterns

2.2.2.4. Texture of the paint layers

2.2.2.5. Large areas of paint loss or lifting paint

2.2.2.6. Possible previous restoration

2.2.3. Transmitted light

2.2.3.1. Tears in the canvas

2.2.3.2. Craquelure patterns

2.2.3.3. Paint losses

2.2.3.4. Thickness of the paint layers

2.2.3.5. Signatures, labels, inscriptions

2.2.3.6. Possible previous restoration

2.2.3.7. Underdrawing

2.2.3.8. Underpainting

2.2.4. UVF

2.2.4.1. Ultraviolet Fluorescence

2.2.4.2. Varnish

2.2.4.3. Organic materials

2.2.4.4. Possible previous restoration

2.2.4.5. Craquelure patterns

2.2.5. UR

2.2.5.1. Ultraviolet Reflectance

2.2.5.2. Organic materials

2.2.5.3. Less-porous materials

2.2.5.4. Identification of additions to a painting

2.2.5.5. Differentiate between materials

2.2.6. IR

2.2.6.1. Infrared

2.2.6.2. Underdrawing

2.2.6.3. Underpainting

2.2.6.4. Potential pigments

2.2.7. IRR

2.2.7.1. Infrared Reflectance

2.2.7.2. Underdrawing

2.2.7.3. Underpainting

2.2.7.4. Thickness of the paint layer

2.2.7.5. Potential pigments

2.2.8. Transmitted infrared

2.2.8.1. Underdrawing

2.2.8.2. Underpainting

2.2.8.3. Condition of the painting

2.2.8.4. Artists technique

2.2.8.5. Construction of the painting

2.2.8.6. Signatures, labels, inscriptions

2.2.9. FCIR

2.2.9.1. False Colour Infrared

2.2.9.2. Pigment identification

2.2.10. X-Radiography

2.2.10.1. Structure of the paint layer

2.2.10.2. Thickness of the paint layer

2.2.10.3. Any possible restoration

2.2.10.4. Information on the primary support

2.2.10.5. Information on the wooden auxiliary support

2.2.10.6. Underdrawing

2.2.10.7. Underpainting

2.3. Information on:

2.3.1. Structure of the layers

2.3.2. Evolution of who the artist created the work

2.3.3. Condition of the painting

2.3.4. Details that might otherwise be difficult to see

2.3.4.1. Cracking

2.3.4.2. Signatures

2.3.4.3. Deformations

2.3.4.4. In-painting

2.3.5. Aid in deciding the course of treatment

2.4. Taken before, during, and after treatments

2.5. Health and safety

2.5.1. Wear the appropriate PPE

2.5.1.1. Lab coat

2.5.2. When conducting ultraviolet photography, protective goggles need to the worn to protect you eye as well as a lab coat

2.5.2.1. Long exposure to a high degree of UV rays can cause cancer

2.5.3. The lamps used for the infrared photography methods get really hot

2.5.3.1. When on avoid touch and once used turn the lamps off at the sockets and leave to cool. This is to avoid burns

3. Heat and moisture tests

3.1. These tests are carried out to determine whether a painting could react when carrying out treatments such as dirt removal or consolidation

3.2. Heat

3.2.1. Make sure the paint does not react when heat is applied to

3.2.1.1. For treatments like:

3.2.1.1.1. Consolidation

3.2.1.1.2. Flattening treatments

3.2.1.1.3. Lining

3.2.2. Must be tested before any other treatments can be carried out

3.2.2.1. To make sure the painting will not react to any of the treatments and cause further damage

3.2.3. Results:

3.2.3.1. Heated spatula and Melinex

3.2.3.1.1. 30 degrees

3.2.3.1.2. 40 degrees

3.2.3.1.3. 50 degrees

3.2.3.1.4. 60 degrees

3.2.3.1.5. 70 degrees

3.2.4. Health and safety mush be considered when using a heated spatula

3.2.4.1. The heated spatula is usually used a high temperatures. Make sure the spatula is always held by the handle to reduce burns

3.2.4.2. The correct PPE must the worn at all times

3.2.4.2.1. Lab cost

3.3. Moisture

3.3.1. Make sure the paint does not react when moisture is applied

3.3.1.1. For treatments like:

3.3.1.1.1. Consolidation

3.3.1.1.2. Aqueous cleaning

3.3.1.1.3. Varnish removal

3.3.1.1.4. Flattening treatment

3.3.1.1.5. Lining

3.3.2. Must be applied before any other treatment can be carried out

3.3.2.1. To make sure the painting will not react to any of the treatments and cause further damage

3.3.3. Results:

3.3.3.1. Cotton swab and deionised water

3.3.3.1.1. Deionised water was at 22 degrees

3.3.3.1.2. Swab was rolled over for 5-10 seconds

3.3.3.1.3. Takes some of the dirt off the surface of the painting

3.3.3.1.4. Paint becomes darker when wet and goes back to its original colour when dry

3.3.3.1.5. Dries quickly

3.3.3.1.6. Slightly water resistant when the deionised water was first applied

3.3.3.2. Blotting paper and deionised water

3.3.3.2.1. Deionised water was at 22 degrees

3.3.3.2.2. The blotting paper was placed on the painting for interval of 10 seconds until 1 minute was reached

3.3.3.2.3. Paint becomes darker when wet

3.3.3.2.4. 10 seconds:

3.3.3.2.5. 20 seconds:

3.3.3.2.6. 30 seconds:

3.3.3.2.7. 40 seconds:

3.3.3.2.8. 50 seconds:

3.3.3.2.9. 60 seconds:

3.3.3.2.10. The blotting paper holds the deionised water on the surface of the painting stopping the water from evaporating

3.3.3.2.11. Dries slowly

3.3.3.3. Health and safety

3.3.3.3.1. lab coat and gloves need to be warn

3.4. Heat and moisture

3.4.1. A combination of these tests

3.4.1.1. For treatments like:

3.4.1.1.1. Consolidation

3.4.1.1.2. Flattening treatments

3.4.1.1.3. Lining

3.4.2. Must be tested before any other treatments can be carried out

3.4.2.1. To make sure the painting will not react to any of the treatments and cause further damage

3.4.3. Results:

3.4.3.1. Blotting paper, deionised water, Melinex, and heated spatula

3.4.3.1.1. 40 degrees

3.4.4. Health and safety mush be considered when using a heated spatula

3.4.4.1. The heated spatula is usually used a high temperatures. Make sure the spatula is always held by the handle to reduce burns

3.4.4.2. The correct PPE must the worn at all times

3.4.4.2.1. Lab coat

3.5. As well as these tests being carried out before treatment, they also need to be carried out after the varnish has been removed

3.5.1. Test how the painting layers will react to heat and moisture

3.5.1.1. For treatment like:

3.5.1.1.1. Flattening treatments

3.5.1.1.2. Tear mending

3.5.1.1.3. Lining

3.5.1.2. The results of the test will determine have the treatments are carried out

3.5.2. This stage of the treatment still needs to be carried out on the painting

4. Dirt removal

4.1. This an essential part of treating a painting

4.1.1. Dirt can react with solutions, gels, adhesives used in other treatment methods

4.2. Dry cleaning

4.2.1. Mostly used on the verse, however, can be used on recto

4.2.2. Remove the particulate dirt from the surface

4.2.3. Materials:

4.2.3.1. Paint brush and conservation vacuum

4.2.3.1.1. Non abrasive

4.2.3.1.2. Only picks up a little of the surface dirt

4.2.3.1.3. Used on the verso and the recto

4.2.3.2. Chemical sponge (also known as smoke sponge)

4.2.3.2.1. Abrasive

4.2.3.2.2. Good a picking up the dirt

4.2.3.2.3. The was found to be the best method of removing the particulate dirt on the verso of the painting

4.2.3.2.4. Can take time if there is a lot of dirt

4.2.3.2.5. Small amount of smoke sponge is left on the surface of the painting (microscopic)

4.2.3.3. Feather

4.2.3.3.1. Non abrasive

4.2.3.3.2. Does not pick up dirt

4.2.3.4. Rubber

4.2.3.4.1. Very abrasive

4.2.3.4.2. Did not pick up a lot of dirt

4.2.3.4.3. Left rubber particles on the surface of the painting

4.2.3.4.4. No recommended for brittle paintings as can lift up some of the fibres of the canvas

4.2.3.4.5. Good at getting into the corners

4.2.3.5. Groom stick

4.2.3.5.1. Slightly abrasive

4.2.3.5.2. Picks up little dirt

4.2.3.5.3. Will take a long time if there is a lot of dirt on the painting

4.2.3.5.4. Removes a small amount of fibres from the painting cause

4.2.3.6. Draft cleaning powder

4.2.3.6.1. Slightly abrasive

4.2.3.6.2. Did not pick up dirt

4.2.3.6.3. Became imbedded into the surface of the painting stripping

4.2.3.7. Palette knife

4.2.3.7.1. Abrasive

4.2.3.7.2. Used to remove dirt from between the canvas and the stretcher

4.2.3.8. Deionised water

4.2.3.8.1. The dry cleaning methods where only picking up the surface dirt

4.2.3.8.2. It quickly become clear that the dirt was imbedded in the canvas

4.2.3.8.3. Removed a lot of the imbedded dirt

4.2.3.8.4. This will need to be continued to remove as mush imbedded dirt as possible before removing the possible size

4.3. Aqueous cleaning

4.3.1. Mostly used on the recto, however, a paint brush and conservation vacuum was also used to remove the particulate dirt from the surface

4.3.2. Removes the more imbedded dirt

4.3.3. Materials:

4.3.3.1. Deionised water

4.3.3.1.1. ph 5.5 - 7.5

4.3.3.2. pH adjusted waters (ammonium acetate)

4.3.3.2.1. pH 5.5

4.3.3.2.2. pH 6.5

4.3.3.2.3. pH 7.5

4.3.3.2.4. pH 8.5

4.3.3.3. pH buffered solutions

4.3.3.3.1. pH 5.5

4.3.3.3.2. pH 6.5

4.3.3.3.3. pH 7.5

4.3.3.3.4. pH 8.5

4.3.3.4. Chelating agents

4.3.3.4.1. EDTA

4.3.3.4.2. Citric acid

4.3.3.5. Corttom swabs

4.3.3.5.1. Removing the dirt

4.3.4. Results:

4.3.4.1. It was found that deionised water, pH buffered solutions and citric acid solutions did not remove the dirt

4.3.4.2. EDTA and pH adjusted waters worked the best

4.3.4.2.1. After testing the different pH’s, pH 8.5 was considered the best at removing the dirt

4.3.4.2.2. As EDTA is a chelating agent, it has to be removed from the surface

4.3.4.3. During this testing process it was found that the dirt was well imbedded into the varnish layer

4.3.5. When making and using all of these solutions, the right equipment and health and safely measures must be in place

4.3.5.1. Mix all solution in a fume cupboard

4.3.5.2. Wear a lab coat and gloves at all times

4.3.5.3. All solution used mush have an up to date COSHH report and staff and student mush be aware of this before use

4.3.5.4. Make sure are work surfaces are clean to minimise breakages and spillages

5. Cross-section sampling

5.1. Pioneered by Arthur Pillans Laurie in 1914 and then further developed in 1937 by Rutherford John Gettens

5.2. Used to examine the layered structure of a painting

5.2.1. Varnish

5.2.2. Dirt

5.2.3. Paint

5.2.4. Ground

5.2.5. Size

5.3. Pigment types

5.3.1. Crystalline structure of the pigments

5.3.2. Material competition

5.4. Could be used to ascertain the presence of a preliminary drawings

5.5. Authenticity of an artwork

5.6. Artists technique

5.7. Past restoration

5.8. The aim is to collect the smallest possible samples from the edge or from cracked/flaking/loss paint. It is generally recommended to take from areas of light and dark paint layers

5.8.1. Scalpel - number 10/15 blade and number 3 handle

5.8.2. Samples are encased in a synthetic resin

5.8.2.1. SamplKwick Powder Fast Cure Acrylic + SamplKwick Liquid Fast Cure Acrylic

5.8.2.1.1. The ration is 2:1

5.8.2.1.2. Two SamplKwick Powder Fast Cure Acrylic : One SamplKwick Liquid Fast Cure Acrylic

5.8.2.1.3. Has to be used quickly once mixed

5.8.2.1.4. Needs to be left to cure for about one hour

5.8.3. Observed under an optical microscope

5.8.4. Some samples are stained with Rhodamine B

5.8.4.1. Staining is used to examine organic materials within the paint layers

5.8.4.1.1. Willian Oswald was an early pioneer

5.8.4.2. Different stains can be used to distinguish between oils and proteins

5.8.4.2.1. Rhodamine B is used to detect proteins

5.9. Questions asked about the painting:

5.9.1. Whether there are any organic materials in the painting?

5.9.2. Possible varnishes used

5.9.3. Possible pigments and their chemical structure

5.9.4. How many paint layers the artist applied and the interface between these layers?

5.9.5. What ground has been used?

5.10. Results:

5.10.1. Sample 1

5.10.1.1. Brown trousers

5.10.1.2. x5

5.10.1.2.1. Dark filter

5.10.1.3. X20

5.10.1.3.1. Dark filter

5.10.1.3.2. Ultraviolet filter

5.10.1.4. Stained with Rhodamine B

5.10.1.4.1. x20 magnification and ultraviolet filter

5.10.2. Sample 2

5.10.2.1. Green jacket

5.10.2.2. Sample was lost

5.10.3. Sample 3

5.10.3.1. Red curtains

5.10.3.2. Sample was lost

5.10.4. Sample 4

5.10.4.1. Brown books

5.10.4.2. x5

5.10.4.2.1. Dark filter

5.10.4.3. X20

5.10.4.3.1. Dark filter

5.10.4.3.2. Ultraviolet filter

5.10.4.4. Stained with Rhodamine B

5.10.4.4.1. x20 magnification and UV filter

5.10.5. Sample 5

5.10.5.1. Face

5.10.5.1.1. x5

5.10.5.1.2. x20m

5.10.6. Different magnifications and filters where used to observe the samples

5.10.6.1. Ultraviolet filter

5.10.6.1.1. View the varnish and organic materials

5.10.6.2. Dark filter

5.10.6.2.1. View the sample under visible light

5.10.6.3. x5

5.10.6.4. X20

5.11. Health and safety considerations

5.11.1. Wear the appropriate PPE

5.11.1.1. Lab coat

5.11.1.2. gloves

6. Consolidation

6.1. Adhering flaking/loose paint back to the canvas

6.1.1. On the painting these areas where mostly around the tears and on the book shelves

6.2. The environment the painting will be places mush be considered

6.2.1. Fluctuating humidity

6.2.2. Is the painting going to be near a radiator

6.2.3. Is the painting going to be about a fire

6.2.4. Is the painting going into a gallery where the temperature, humidity, and light levels are controlled

6.2.5. Is the painting going to be framed and with said frame going contain glass

6.3. Different adhesives were tested

6.3.1. Isinglass

6.3.1.1. Proved best and it what was used on the painting

6.3.1.1.1. Isinglass has has a shelf life 3 days

6.3.1.1.2. Dries matte

6.3.1.1.3. Dries quickly

6.3.1.1.4. transparent

6.3.1.1.5. Will yellow over time

6.3.1.1.6. Solidifies when cold, so has to be heated up before applying. For this the jar is placed in a baby bottle warmer

6.3.1.1.7. Smells

6.3.1.1.8. Soluble in water

6.3.1.1.9. Natural

6.3.2. Gelatine

6.3.3. Aquazol 500

6.3.4. Jade 403N

6.4. Calculating isinglass:

6.4.1. 5%

6.4.1.1. V1 x 15% = 30mL x 5%

6.4.1.1.1. 30 x 5 / 15 = 10

6.4.2. 10%

6.4.2.1. V1 x 10% = 30mL x 10%

6.4.2.1.1. 30 x 10 / 10 = 30

6.4.3. These concentrations were used as most of the of the paint layer was stable so not a lot of adhesion was needed

6.4.4. The temperature of the isinglass should not exceed 60 degrees. However, the isinglass should melt at around 40 degrees

6.5. The facing method of consolidation, using 5% and 10% isinglass concentration, has been used on the painting

6.5.1. Consolidation is generally when adhesive is applied to the painting, then heat is applied over the top

6.5.2. The painting reacts with heat and moisture together

6.5.3. With wooden blocks underneath the painting, adhesive is applied over the top of Eltolene tissue, then pressure is applied using glass weights and left to dry

6.5.3.1. Has to be applied quickly to the painting as isinglass is fast drying

6.5.3.1.1. Small pieces of Eltolene tissue were used

6.5.3.2. Applied to the Eltolene tissue using the Union Jack method

6.5.3.3. As there are a lot of deformations in the painting it was difficult to gain the right amount of pressure and evenly throughout the painting

6.5.3.4. Took two days to dry

6.5.4. This type of consolidation has also been used as a face if to strengthen the tears and to stop the ends of the canvas curling in when the masking tape is removed

6.6. Generally consolidation is considered non reversible

6.6.1. The aim is to secure as much as the original paint as much as possible for a long period of time

6.7. Health and safety consideration

6.7.1. Making the isinglass concentrations

6.7.1.1. Double boiler is used. This is at a hight temperature so be careful not to touch

6.7.2. Wear appropriate PPE

6.7.2.1. Lab coat

6.7.2.2. gloves

7. Facing of the tears

7.1. This was completed as part of the consolidation

7.1.1. 5% and 10% isinglass and Eltolene tissue

7.1.2. Secure the tears when the masking tape on the verso is removed

7.1.3. Stop the edges of the tears folding in

7.1.3.1. Keeps the edges flat

7.1.4. The isinglass secures the paint layers as used as a consolidation method as well

7.1.5. Stops the canvas threads from being removed

7.2. Health and safety

7.2.1. Wear the appropriate PPE

7.2.1.1. Lab coat

7.2.1.2. Gloves

8. Removal of masking tape

8.1. The masking tape was covering the tears on the verso of the canvas

8.1.1. A loose piece of masking tape was removed using as spatula

8.1.1.1. On the loose piece of masking tape, the adhesive was tested

8.1.1.1.1. Deionised water was used to test whether the adhesive was water based

8.1.1.1.2. The deionised water was places on the surface of the adhesive

8.1.2. The adhesive that is applied to the back of the masking tape had become brittle allowing for some of the making tape to come away from the canvas

8.1.3. Over time the masking tape has cause deformations as the canvas has moved on the stretcher

8.2. The masking tape was removed using swabs of deionised water and a spatula

8.2.1. Slow process, as the process needs to be carefully removed to not further damage the canvas

8.2.2. Deionised water was used to saturate the adhesive on the back of the masking tape. Then the scalpel was used to slowly remove the masking tape from the canvas

8.2.3. Blotting paper and a weight could also be used to slowly release the deionised water and saturate the masking tape

8.3. Underneath the masking tape, on the tear located in the top, middle of the canvas (Thomas’ face), a piece of paper was found

8.3.1. This was likely used to secure the tear. Then later masking tape was used

8.3.1.1. Brittle

8.3.1.2. Spatula and a very small amount of deionised water was used

8.3.1.2.1. the water was used to saturate the adhesive

8.3.1.3. Slow process

8.4. The deionised water removed a lot of surface dirt around the tears and the rest of the verso of the painting

8.5. Heal the and safety

8.5.1. Wear the appropriate PPE

8.5.1.1. Lab coat

8.5.1.2. Gloves

9. Varnish removal

9.1. Remove the old, yellowed varnish from a painting

9.2. Different materials were tested to see which was best at removing the varnish from the painting

9.2.1. Solvent

9.2.1.1. White spirit

9.2.1.1.1. Did not remove varnish

9.2.1.2. Xylene

9.2.1.2.1. Did not remove varnish

9.2.1.3. Propan-2-ol

9.2.1.3.1. Removed the varnish slowly

9.2.1.3.2. provided control

9.2.1.3.3. This solvent was proven to be the best at removing the varnish on the painting as it is controllable and does not remove the pigment

9.2.1.4. Acetone

9.2.1.4.1. Removed the varnish quickly

9.2.1.4.2. Lack of control

9.2.1.4.3. Slight pigment removal on the dark areas of the painting

9.2.1.5. Methyl Ethyl Ketone (MEK)

9.2.1.5.1. Removed the varnish

9.2.1.5.2. the absorption rate of the solvent lies between propan-2-ol and acetone

9.2.1.5.3. Removes the pigment on the dark areas of the painting

9.2.1.6. Industrial Methylated Spirit (IMS)

9.2.1.6.1. Removed the varnish quickly

9.2.1.6.2. Controllable

9.2.1.6.3. Small amount of pigment removed of the dark areas of the painting

9.2.1.7. These solvent do not need to be removed. They will evaporate from the surface

9.2.2. Nanorestore cleaning microemulsions

9.2.2.1. Polar coating S

9.2.2.1.1. Slowly removes varnish

9.2.2.1.2. Removes a small amount of varnish

9.2.2.1.3. Difficult to see if the varnish has been removed

9.2.2.1.4. Small amount of pigment removed

9.2.2.1.5. slight blanching of the varnish

9.2.2.2. Polar coating B

9.2.2.2.1. Slowly removed the varnish

9.2.2.2.2. Removes very little varnish

9.2.2.2.3. Slight pigment removed

9.2.2.2.4. Possibly slight blanching

9.2.2.3. Polar coating G

9.2.2.3.1. Removed the varnish straight away

9.2.2.3.2. small amount of pigment removed

9.2.2.3.3. Blanching of the varnish

9.2.2.4. Apolar coating

9.2.2.4.1. Slowly removed varnish

9.2.2.4.2. very little varnish removed

9.2.2.4.3. Small amount of pigment removed

9.2.2.4.4. soapy when rolled over the surface of the painting

9.2.2.5. All microemulsions need to be removed from the painting using deionised water

9.2.3. Traditional solvents

9.2.3.1. Still need to be tested

9.2.4. Nanorestore cleaning Peggy hydrogels

9.2.4.1. Peggy 5

9.2.4.1.1. Polar coating S

9.2.4.1.2. Polar coating B

9.2.4.2. Peggy 6

9.2.4.2.1. Polar coating G

9.2.4.2.2. Apolar coating

9.2.5. Chemical gels

9.2.5.1. Medium Water Retention (MWR)

9.2.5.1.1. Propan-2-ol

9.2.5.1.2. IMS

9.2.5.2. High Water Retention (HWR)

9.2.5.2.1. Propan-2-ol

9.2.5.2.2. IMS

9.2.5.3. These solvent will evaporate so there is not need to remove the solvents

9.3. UV photographs of the painting

9.3.1. Thinned varnish in the righthand corner of the painting, is a rectangle shape

9.3.1.1. Possible previous test are

9.4. Health and safety

9.4.1. When solvents are being used strict health and safety must be followed and the correct PPE must be warn

9.4.1.1. All COSHH reports must be up to date before using and staff and student mugs read these before use

9.4.1.2. PPE

9.4.1.2.1. Lab coat

9.4.1.2.2. Gloves

9.4.1.2.3. half respirator

9.4.1.3. The toxicity of these solvents are:

9.4.1.3.1. Serious health risk

9.4.1.3.2. Corrosive

9.4.1.3.3. Oxidising

9.4.1.3.4. Heath hazard / hazardous to the ozone layer

9.4.1.3.5. Flammable

9.4.1.3.6. Hazardous to the environment and aquatic life

9.4.1.3.7. acute toxicity

9.4.1.3.8. Irritant

9.4.1.3.9. Inhalation of the vapours

9.4.1.3.10. Ingestion

9.4.1.3.11. Absorption

9.4.2. Staff and student must be aware of these health and safety measures before using the materials

10. Removal of potential size from the verso

10.1. The verso of the painting looked to have a possible size layer applied as the verso looks slightly shiny

10.1.1. This will need to be removed before lining as the possible size may react with the adhesive used

10.1.1.1. Tests for removal:

10.1.1.1.1. Deionised water

10.1.1.1.2. White spirit

10.1.1.1.3. Xylene

10.1.1.1.4. Propan-2-ol

10.1.1.1.5. Acetone

10.1.1.1.6. MEK

10.1.1.1.7. IMS

10.1.1.1.8. Staff and students must be aware of the health and safety risks

10.2. This still need to be carried out

11. Removal of the painting from the stretcher

11.1. This is done to complete further treatments

11.1.1. Flattening

11.1.2. Tear mending

11.1.3. Lining

11.1.4. Further dirt removal from the tacking margins and fold lines

11.2. The stretcher can be fully examined and treated at this point

11.2.1. Stretcher for this painting

11.2.1.1. Dirt removal

11.2.1.2. There is no evidence of wood worm

11.2.1.3. A few small splits in the wood, however, structurally secure

11.2.1.4. A signature is located on the bottom of the right member

11.2.1.4.1. It is possible this is the owner not the artist as the name matches the inscription from on the verso

11.3. Potential materials

11.3.1. Pliers

11.3.2. Melinex

11.3.3. Hammer

11.3.4. Silicone release paper

11.3.5. Plastazote

11.4. Heath and safety

11.4.1. Wear the appropriate PPE

11.4.1.1. Lab coat

11.4.1.2. Gloves

11.4.2. The hammer and plier could cause the most damage to and painting and persons involved

11.4.2.1. Make sure fingers are at a safe distance away when using

11.5. This still need to be carried out

12. Flattening treatments

12.1. These treatments are designed to remove deformations within the canvas

12.2. Moisture can be added in a controlled environment also with heat

12.2.1. Have to be careful how much moisture is applied and well as the temperature the painting is subjected to

12.3. The painting could also be attached and tensioned on a loom. Again moisture is used

12.3.1. As the painting does not react well with heat and moisture together, this method is recommended

12.4. There is a lot of deformations within this painting

12.4.1. Potential causes

12.4.1.1. Deterioration of the tacking margins

12.4.1.2. Making tape on the verso

12.4.1.3. Fluctuations in humidity and temperature where the painting was hung preciously

12.4.1.3.1. It is possible the painting was place above the fire. This could be suggested from the dirt found on the painting and how imbedded it was

12.4.1.4. Around the tears and possible how the tears were caused

12.5. The treatments can be carried out both with the painting on and off the stretcher

12.6. Health and safety

12.6.1. Wear the correct PPE

12.6.1.1. Lab coat

12.6.1.2. Gloves

12.7. This still need to be carried out

13. Tear mending

13.1. Fixing tears and holes within the canvas

13.1.1. Thread to thread bonding using adhesives

13.1.1.1. Adhesives tested

13.1.1.1.1. Isinglass

13.1.1.1.2. Gelatine

13.1.1.1.3. Gelatine and wheat starch

13.1.1.1.4. BEVA 371 film

13.1.1.1.5. Polyamide welding powder

13.1.1.1.6. Epoxy resin

13.1.1.1.7. Polyvinyl acetate

13.1.1.2. Thinning and bonding the threads that have become frayed and detached

13.1.1.2.1. Different types of thread bonding

13.1.2. Heifer’s trekker can also be used

13.1.3. Sutures with gore-tex threads can also be used

13.1.4. Inserts of canvas that are similar in age

13.1.4.1. Adhesives tested

13.1.4.1.1. Isinglass

13.1.4.1.2. Gelatine

13.1.4.1.3. Gelatine and wheat starch

13.1.4.1.4. BEVA 371

13.1.4.1.5. Polyamide welding powder

13.1.4.1.6. Epoxy resin

13.1.4.1.7. Polyvinyl acetate

13.1.4.2. Where there are big losses of canvas with no threads that can be reattached

13.1.4.3. For the tears in this painting, inserts are recommended

13.1.4.3.1. Canvas is brittle

13.1.4.3.2. No threads to bond

13.1.4.3.3. When creating inserts for the painting different adhesives will be test before hand

13.2. Health and safety

13.2.1. Wear the correct PPE

13.2.1.1. Lab coat

13.2.1.2. Gloves

13.3. This process still need to be carried out on the painting

14. Full lining

14.1. This is recommended was the canvas is brittle

14.1.1. New tacking margins are needed

14.1.2. As the canvas is brittle it is likely that the original canvas would tear when re-tensioned

14.1.3. However, further heat and moisture tests will need to be carried out after the varnish has been removed

14.1.3.1. As a result of past test, it could be possible that the paint layer could react when heat and moisture are applied together

14.1.3.1.1. If this is the case, then mist or cold press lining could be the next best option

14.2. Other lining methods

14.2.1. Strip lining

14.2.2. Loose lining

14.2.3. Mist lining

14.2.4. Hand lining

14.2.5. Cold press lining

14.2.6. Stretcher bar lining

14.3. A full lining will also support the tears that have been filled

14.4. Health and safety

14.4.1. Wear the appropriate PPE

14.4.1.1. Lab coat

14.4.1.2. Gloves

14.4.1.3. Half respirator

14.4.1.3.1. Used when applying the adhesive the to lining canvas as they contain solvents

14.4.2. The low pressure table get hot, be careful touching the metal, the painting is protected by layers of felt Melinex , and silicone release paper

14.4.3. Staple gun

14.4.3.1. Keep fingers away from the staple gun when using. Do not point at other people

14.4.4. Hot iron

14.4.4.1. Burns can occur if not careful. Only hold the handle and keep fingers away from the iron

14.5. This treatment still needs to be carried out

15. Re-stretching

15.1. Application of the back onto a new or the original stretch

15.1.1. For this painting, the original stretcher would be preference as it contains a signature

15.1.1.1. This will be determined when the painting is first removed and the stretcher is assessed

15.2. The painting will be attached to the stretcher with the next tacking margins provided in the lining process

15.3. Materials

15.3.1. Metal tacks/staples

15.3.2. Small pieces of canvas that will be places between the tack/staple and the tacking margin of the painting

15.3.2.1. This will mean that the tack/staple will cause less damage to the canvas

15.3.2.2. It will also make the tack/staples easier to remove if the painting needs further treatment

15.3.3. Hammer if tacks are bring used

15.3.4. Staple gun if staples are being used

15.3.5. Canvas pliers to tension the painting onto the stretcher

15.4. Re-stretching the painting will allow the following processed to be easily applied

15.4.1. If the re-stretching of the painting is complete after, for example the filling process, then the tension through the painting needed for re-stretching could cause the filler to crack and become loose on the canvas

15.5. Health and safety

15.5.1. Wear the appropriate PPE

15.5.1.1. Lab coat

15.5.1.2. Gloves

15.5.2. When using a staple gun, hammer, or tacks keep hand at a safe distance to avoid accidents

15.6. This treatment still needs to be carried out

16. Application of first layer of varnish

16.1. This is applied before any filling or in-painting can be completed

16.2. This is to protect the original painting from any further work the conservators carry out

16.3. Different varnishes will be tested on a sample before application to the painting

16.3.1. Dammar

16.3.1.1. Traditional for the 19th century, more in keeping for the painting

16.3.2. Mastic

16.3.2.1. Traditional for the 19th century, more in keeping for the painting

16.3.3. Laropal A81

16.3.3.1. More modern varnish

16.3.4. Ketone

16.3.4.1. More modern varnish

16.3.5. Paranoid B72

16.3.5.1. More modern varnish

16.3.6. Rosin

16.3.6.1. Potentially used from the 13th/14th centuries

16.3.7. As the conservation and the owner of the painting, do I want to keep the painting true to the artists intention?

16.4. Health and safety

16.4.1. Wear the correct PPE

16.4.1.1. Lab coat

16.4.1.2. Gloves

16.4.1.3. half respirator

16.4.1.3.1. The varnishes could potentially me mix with solvent

16.4.1.3.2. The varnish is applied to the painting using a spray gun. The half respirator stops the varnish from entering the lungs

16.4.2. To melt the varnish a double boiler will be needed

16.4.2.1. Burns could occur if not careful

16.5. This process still need to be carried out on the painting

17. In-Filling

17.1. Filling the areas of loss before in-painting to make sure the losses are brought up the the same plain as the rest of the painting

17.2. Types of filler

17.2.1. Mowiol 498 with gilders whiting

17.2.2. Gilders whiting with protein based glue (eg gelatine, isinglass)

17.2.3. Gilders whiting with oil based glue (eg rabbit skin glue)

17.2.4. Gilders whiting with solvent based resins (eg Aquazol 500 with a solvent, BEVA 371 with kaolin, Paraloid B72 gels)

17.2.5. Wax-resins putties with pigment

17.2.5.1. Gambling stick

17.2.5.1.1. Beeswax

17.2.5.1.2. Microcrystalline wax

17.2.5.1.3. Laropal A-81

17.2.5.1.4. Lightfast pigments

17.2.5.2. Poly-cyclohexanone resin with wax and pigment

17.2.6. Aqueous gesso filling

17.2.6.1. Aquazol 200/500

17.2.7. Flügger

17.2.7.1. Acrylic filler

17.3. Texture can also be applied to pry on the competition of the painting

17.3.1. The texture and in-painting can easily blend with the original

17.4. Health and safety

17.4.1. Wear the correct PPE

17.4.1.1. Lab coat

17.4.1.2. gloves

17.5. This process still need to be carried out on the painting

18. In-painting

18.1. To fill in the areas of loss to match the original competition

18.2. Varnish pigment are usually used so that the conservators work can be easily reversed

18.3. Methods of application

18.3.1. Mimetic

18.3.1.1. Replicate losses closely. Replication of the colour and is applied in tiny brush strokes or dots to build up layers

18.3.2. Neutral

18.3.2.1. Applied in tiny brush strokes to build up layer. A neutral colour from the original is picked out to take the eye away from the loss

18.3.3. Pointillist

18.3.3.1. Applied in tiny dots to build up the layers

18.3.4. Chromatic

18.3.4.1. Based on the ‘Trattegio’ method. Applied in tiny brush strokes or dots to build up many layers

18.3.4.1.1. The prime colours are used

18.3.5. Tonal

18.3.5.1. Generally used on Grisaille works. Tiny brush strokes are used to build up the layers

18.3.5.1.1. Black

18.3.5.1.2. White

18.3.5.1.3. Grey

18.4. Each layer of the paint must be dry before the next layer is applied

18.4.1. If the layers are not fully dry then the next layer could pull the paint off and/or move it around the painting

18.5. Only stay within the areas of loss, do not paint onto the original painting if it can be helped

18.5.1. This could result in the original competition being changed

18.5.2. And possible deception in the future when other conservators are commissioned to treat the painting

18.6. Health and safety

18.6.1. Wear the appropriate PPE

18.6.1.1. Lab coat

18.6.1.2. Gloves

18.6.1.3. Half respirator

18.6.1.3.1. As varnish paints are used, solvent is present to thin the painting and wash the brushes

18.7. This process still need to be carried out on the painting

19. Final application of varnish

19.1. This seals the painting and most of the treatments carried out

19.2. The varnish layer if designed to protect the painting composition

19.2.1. Dirt

19.2.2. Light (usually sun light that contains UV rays)

19.3. The addition of a varnish layer can also bring out the colours within the painting composition

19.4. However, over time varnishes yellow altering the viewing aspect of the painting

19.4.1. The degree of yellowing depends on the varnish that has been used

19.5. It is recommended that the varnish used in the first layer is used again for the final layer

19.5.1. This will reduce the change of any adverse affects and subsequent damage to the painting

19.5.2. It will also be easier for the conservator if the painting need to be treated in the further

19.5.3. See the section titled ‘Application of first layer of varnish’. This included a list of potential varnishes for the painting

19.6. Health and safety

19.6.1. Wear the appropriate PPE

19.6.1.1. Lab coat

19.6.1.2. Gloves

19.6.1.3. Half respirator

19.6.1.3.1. The varnishes are potentially mixed with a solved

19.6.1.3.2. The varnish is applied to the painting using a spray gun. The half respirator stops the varnish from entering the lungs

19.6.2. To melt the varnish a double boiler will be needed

19.6.2.1. Burns could occur if not careful

19.7. This process still need to be carried out on the painting

20. Tie in the keys in the stretcher

20.1. Tying the keys of the stretcher into place will stop them from falling out or falling into the painting causing damage

20.2. Materials

20.2.1. Transparent fishing wire is usually used

20.2.2. Staple gun

20.2.3. Small piece of canvas to apply between the fishing wire and the stretcher allowing the staple to be easily removed with out damaging the stretcher

20.2.4. Wood or metal plate to protect the painting when drilling the holes into the keys

20.2.4.1. This is usually done with the keys in the stretcher as they will be helping to tension the painting. If they are removed at this stage then the tension of the painting will be uneven and eventually cause damage to the painting

20.2.5. Hand drill

20.2.5.1. To drill the holes into the keys

20.2.5.2. This need to be done slowly as sometimes it can be difficult to determine whether the drill has gone through the key

20.2.5.2.1. If the drill goes through the key without the conservator knowing then it can cause damage to the painting

20.3. Health and safely

20.3.1. Wear the appropriate PPE

20.3.1.1. Lab cost

20.3.1.2. Gloves

20.3.2. When using the drill and staple gun keep hands at a safe distance to avoid accidents

20.4. This process still need to be carried out