Conservation DistList Archives [Date] [Subject] [Author] [SEARCH]

Subject: Isolating layer between watercolor and wood panel

Isolating layer between watercolor and wood panel

From: Julie Dennin Ream <julieream>
Date: Friday, April 6, 2007
I have a small Arthur Hughes watercolor painting c.1867 on heavy
paper wrapped around, but not adhered to, a solid wood panel 1/2
inch thick.  I will likely remove the painting from the panel for
treatment and I would like to isolate the wood panel to prevent
off-gassing before remounting the painting.  The client and I both
prefer to keep the wood panel as it appears to be the artist's
original presentation, but have not ruled out replacing it with a
rigid archival support (retaining the wood panel behind that, of

Any isolating layer cannot add to the overall thickness, so 4-ply
matboard is out of the question.  Thinner paper and boards I fear
could buckle if not adhered overall.  It has been suggested that any
coating or material adhered to the wood surface to seal it would
need to be equally applied to both sides, so anything that's not
transparent would change the verso appearance of the panel.

I was looking at microchamber/zeolite products and saw a
microchamber emulsion.  Layers of B-72 and wax to seal both sides
was suggested by a paintings conservator.

I am similarly interested in ideas for isolating prints mounted on
fabric from their wood strainers.  I'd like to respect both the art
and the artifact in these situations.

Julie Ream
Paper Conservator in Private Practice
402 Lenape Trail
Wenonah, NJ 08090

                  Conservation DistList Instance 20:49
                  Distributed: Friday, April 13, 2007
                       Message Id: cdl-20-49-025
Received on Friday, 6 April, 2007

[Search all CoOL documents]