reversing the damage of a previous restoration

Photo: Overall shot before treatment

A beautifully painted portrait of a lady arrived at our door in a horrendous condition. The canvas had suffered severe shrinkage, the paint layer had been forced together, and having nowhere to go, had lifted away from the canvas forming tent-like shapes across the surface of the painting.

Photo: Close up of paint layer

As we investigated the cause of the canvas shrinkage, we found that a restorer had previously attempted to line the canvas using a water based adhesive. Lining is a procedure where a new canvas is adhered to the original canvas in order to add strength and support. However, we try to avoid lining paintings unless it is absolutely necessary because of the risks involved. Poorly executed lining can cause shrinkage of the canvas with associated damage to the paint layer, but can also change the texture and gloss of the paint layer. When carried out correctly, lining can result in a successful stabilisation of the painting without harm.

As conservators we think a lot about how we are going to treat an object. Often, it seems to us that conservation can be more about knowing what we cannot do rather than what we can. It is very easy to re-touch that missing section of paint, or glue a sculpture back together, but what are the consequences of our actions? In essence, this is what our training and code of ethics are all about – how do we treat the problems with an artwork or artefact whilst maintaining its significance and authenticity, and causing no harm to it now or in the future.

Our treatment of this painting was a lengthy and slow process. Over weeks the adhesive was slowly removed, first by softening it with solvents, and then by mechanically scraping away the adhesive. Simultaneously, we slowly stretched the canvas on an expandable stretcher, millimetre by millimetre. Once the canvas was its original size the tenting paint was then laid back into place.

The varnish layer on top of the paint was also badly damaged from the cracking and needed to be removed. Unfortunately, as the varnish was not a conservation grade varnish, it was not soluble in any solvents that did not also damage the paint layer. Consequently, the varnish had to be mechanically scraped away, which took one conservator three weeks to do.

Photo: After treatment

Finally, we lined the painting using the correct materials and processes, before varnishing, filling of losses and re-touching of damage. The overall results were very pleasing but some evidence of the damage still remains in the surface texture.

Photo: After treatment detail

Projects like this remind us of the challenges our clients face in finding a conservator. Conservators undergo extensive training, and generally specialise in just one field, e.g. paintings or paper or sculpture or metals or furniture / wood or textiles. Most conservators have tertiary qualifications – either an undergraduate or masters degree – and have several years experience on the job working with another experienced conservator in one area of conservation alone. When you find a conservator, it is always worth asking them about their qualifications, area of specialisation and experience, and if they have carried out this sort of treatment before.

Communication is also important so that both you and the conservator understand what you wish to achieve from the conservation treatment, and what the conservator expects the outcome from treatment is likely to be. Returning a painting or artefact to a “new” condition is rarely possible or appropriate, but treating it to bring it into a stable and presentable condition is almost always achievable. Prevention of damage is always far better than a cure, and once you have found a good conservator you can be confident that they have the best interests of your artwork, antique or artefact in mind.

Adam Godijn
International Conservation Services

Christ Church in Bong Bong

One of the great things about working in conservation is that almost all of our work makes a difference, both to the objects that we conserve, and for the people to whom the objects are significant.

But from time to time, we get the opportunity to work on projects where the difference our work makes is highly visible, even transformative.

Such was the case late last year with our work on the decorated interiors of the Anglican Christ Church at Bong Bong in the Southern Highlands of NSW. Listed on the NSW State Heritage Register, it is the oldest church in the region, dating from 1845, and for some time, it was the only church between Sydney and Goulburn.

International Conservation Services was originally requested to conserve the interior paintings and decorative elements of the church. But after some discussions with the parish, we found that we could help the church with a broader project involving advice on the colour scheme, redesign of the internal church lighting, as well as work on the timber pews and running a training course for the parish members on how to care for them.

The large areas of flaking paint found in the artwork and decorative paintwork of the ceiling were of primary concern to our painting conservation team of Adam Godijn, Arek Werstak and Matteo Volonte, who spent a long fortnight working in demanding conditions of up to 40 deg C just below the ceiling of the church.

The flaking paint areas were consolidated as a priority before the extensive cleaning works required to the decorative ceiling were commenced. In order to avoid the heat, the team worked as early in the morning as possible.

After cleaning and consolidation of the paint layers, the losses were filled and inpainted before a final varnish layer was applied. This reversible varnish layer serves as a protective coating from the dust, dirt and debris that will collect in time, and also improves the appearance of the decoration by saturating the surface.

During planning for these works, we undertook a variety of paint investigations around the church to confirm the extent of original decorative finishes, and to attempt to identify the original colour scheme. These investigations uncovered many interesting things.

We discovered that the white gloss enamel painted window frames originally had a wood grained finish. A specialist decorator was brought in to re-create this original wood-grained effect. Apart from looking much more interesting the dark oak-like wood grain significantly enhances and highlights the beautiful stained glass windows.

Investigations around the gothic lettering at the front of the church found that the original lettering was much more ornate, and much more in keeping with the style of the surrounding decorations. The existing lettering was quite harsh in blue and red, whereas the original lettering had three colours - red, blue and gold leaf. After some discussions, the original lettering was replicated.

The plain sections of the church interior were repainted by a local tradesman using a colour scheme developed from original colours revealed by our paint scrapes, and in consultation with representatives of the churchwardens.

During the painting works, all of the plaques on the walls had to be removed, so the opportunity was taken to clean and polish them all before they were re-installed after the painting works were complete.

And finally a new lighting system was installed that provides both uplight onto the ceiling decoration and also spotlights the decorative verses on the two end walls.

You can read more about our work in this article in the Southern Highland News.

We are delighted to have been able to contribute to revealing this real gem of a church interior in a historic region of NSW. Services are held in the church each Sunday if you are interested in visiting.

David West and Adam Godijn

International Conservation Services

repetition, concentration, commitment

Much of our conservation work is, by nature, very repetitive. Removal of grime from the surface of paintings with molecular sponges and cotton swabs. Cleaning of mould affected books. And so I admire the way our conservators are able to concentrate on this relentless repetition with their eye on the end-goal of conserving the object they are working on.

I've been thinking about this repetition as a result of several projects we're working on at present. We've got a team of six paintings conservators working on wall paintings in the Hellenic Community's Cathedral of Saint Constantine and Saint Helene in Northbridge, Perth. You can read more about their work in the project blog we set up to keep the Hellenic Community of WA up to date with the project.

We've also just completed a six week long project in a Sydney library cleaning mould from books in the special collection, where we had a team of up to six working under the supervision of our paper conservator. Brush vacuuming mould from every page of a rare book definitely qualifies as an endeavour requiring concentration and commitment.

The video below shows brush vacuuming of a mould affected ledger at our workshop.



David West
International Conservation Services

Christo visits Frank Stella?

Observant passers-by in George Street, Sydney may have noticed the three giant Frank Stella artworks in the lobby of Grosvenor Place are currently swathed in plastic. No, Christo has not been in town. But we have been wrapping the artworks, so as to protect them whilst the floor is re-laid.

Entitled "Pillars and Cones" these three paintings are part of a series that Stella created between 1984 and 1987. These three were specially acquired for Grosvenor Place by Harry Seidler, the building’s architect.

They were painted in New York using oil paint on magnesium, an effect that allowed the surface to be etched and provide a distinctive sculptural quality, and were then shipped to Australia. Unfortunately during or after shipping the container they were in was partially filled with water, causing a major breakdown of the paint adhesion to the magnesium (and a court case resulting).
They remain the most prominent examples of Stella’s work in Australia. Stella was born in 1936, and remains one of the most significant post –war American painters who are still working.

Have a look next time you are near Circular Quay.

Julian