Lining a ceiling painting

Annefloor Schlotter <annefloor22 [at] hotmail__com> writes

>As a fifth year student of the Stichting Restauratie Atelier Limburg
>(SRAL) I am treating a canvas ceiling painting for my thesis
>project.

I have some small experience with lining of ceiling paintings both
with and without an interleaf. There are several points which you
should take notice of when choosing the methods and materials you
use.

Choosing the adhesive: I understand that the painting has suffered
one or more water damages and I guess that you need to consolidate
the paint layer first. It is important to first consolidate the
paint layer and afterwards deal with a lining. The adhesive you
choose for the consolidation is dependant on which adhesive you
choose for the lining.

Things to consider for the consolidation are:

The use of water based adhesives vs. solvent based: Personally I
prefer water based glues like sturgeon glue. But in cases with water
sensitive paintings you should consider solvent based glues like
Plexisol. After consolidation you choose your adhesive for the
lining. You could either use a water based glue paste or a water
based synthetic medium. In his case I would prefer a synthetic
medium like plextol because I would avoid risking to dampen the
painting a second time.

Choosing the interleaf and the lining canvas: For the lining canvas
again you have a choice between natural vs. synthetic fibers. You
should think of strength and weight when choosing because you would
want to keep the weight low on the painting.

Choosing the interleaf is the difficult part. Through the history of
conservation various materials have been used as interleaves: Gauze,
paper, thin canvas, classifier weave, etc. In all the cases I have
seen there has always been an adhesive layer on both sides of the
interleaf and not as you suggest a layer through which the glue can
penetrate and form a "locked/rigid bond". If a layer is that open it
means that there is a risk of the structure (weave or whatever)
becoming visible on the surface of the painting. The interleaf
should have an even surface which it keeps when put under pressure.

The thickness of the material is also a point to consider: Thin or
thick. Thick means stable but also heavy. Thin means flexible and
light like a thin polyester weave or non woven synthetic fabric. But
you may be able to find a light weight material which is stable and
light. I have used polyester felt with great success. But a lot of
new materials is on the market and you could look into the market of
foams.

The activation of the adhesive: I always use a low pressure vacuum
table with heat in the table surface and the choices I make are in
regard to this. However I don't know how you plan to put your
sandwich together. Feel free to contact me for further information.

Berit Moller
Paintings Conservator MS
De Danske Kongers Kronologiske Samlinger
Rosenborg/Amalienborg Museer
Copenhagen
Denmark


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                  Conservation DistList Instance 22:56
                  Distributed: Tuesday, March 31, 2009
                       Message Id: cdl-22-56-003
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