Heat-Seal Lining of A Torn Painting With Beva 371 PDF

Maney Publishing
Heat-Seal Lining of a Torn Painting with Beva 371

Author(s): Gustav A. Berger
Source: Studies in Conservation, Vol. 20, No. 3 (Aug., 1975), pp. 126-151
Published by: Maney Publishing on behalf of the International Institute for Conservation of
Historic and Artistic Works
Stable URL: http://www.jstor.org/stable/1505679
Accessed: 03-02-2016 14:53 UTC
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact support@jstor.org.
Maney Publishing and International Institute for Conservation of Historic and Artistic Works are collaborating with
JSTOR to digitize, preserve and extend access to Studies in Conservation.
http://www.jstor.org
This content downloaded from 129.96.252.188 on Wed, 03 Feb 2016 14:53:38 UTC
All use subject to JSTOR Terms and Conditions
126 Studiesin Conservation,
20 (1975),126-151
HEAT-SEAL LINING OF A TORN PAINTING

WITH BEVA 371
GUSTAV A. BERGER
Abstract-Theuse of thenewheat-sealadhesive,Beva 371,is describedstepby stepin the

ofanoilpainting
lining bytheAmerican
artist Peale,which
Rembrandt wastorn.
Thefollowing
new devicesand methodsconnectedwiththedevelopment
of Beva are describedin detail:
1.Heat-seal andtheir
facings 2. Bridging
preparation, oftears;fillings 3. Deacidi-
andinlays.
ficationof decaying
canvas,4. Strengthening 5. Choice
of decayingcanvasbyimpregnation,
inheat-seal
offiberglass 6. Preparation
laminates, ofheat-seal
laminates.
1. INTRODUCTION*
Withthehelp of grantsfromthe Samuel H. Kress Foundationa new adhesive,Beva 371,

was specificallydeveloped to meet the needs of conservators[1]. Encouraged by the
simultaneousattemptsof Leene [2], Lodewijks[3] and Messens [4], theauthorset out to
adapt heat-sealmethodsand adhesivesto therequirements ofpaintingconservation.Most
commercially available heat-sealadhesivesare soluble in solventspotentiallyharmfulto
paintings.Beva 371, however,is solublein hydrocarbonsolventsknownto be harmlessto
paintings.
Beva 371 was subjectedto rigoroustestingfirstreportedin IIC-AGTechnicalPapers 1968-70
[6]. It can be used to consolidateartobjectswhich
[5], and laterin Studiesin Conservation
could not have been adequatelytreatedbeforeits development.The new adhesivecan be
applied and removedcausingminimalchangeto the originalart object.It adhereswellto
Mylarand otheralmostindestructible, transparent syntheticfilmswhichmaketransparent
mountingpossible.Thus bothfrontand back of theart objectcan be preserved,and any
inscriptionwhichthe back mightcarrycan remainclearlyvisibleand unchanged.
Some of theproperties whichrecommendBeva 371 especiallyfortheliningof oil paintings
are:
1 - Beva 371 is non-aqueous,dissolvedin non-polarpetroleumfractionsknownto be
harmlessto most paint films[7]. It is applied cold, thus eliminating the prolonged
of
heating paintingsnecessary when hot-melt adhesives are used. Beva causes no
contractions, expansionsor softeningofthematerialsto whichit is applied,in contrast
to aqueous adhesives.This makes applicationto the most delicatesurfacespossible,
includingapplicationand removaloffacings.
2 - Heat-sealing,shrinkageand distortionis minimal,less thanin mostadhesivesystems.
3 - Heat-sealingcan be done daysor weeksafterapplicationof Beva 371,thuseliminating
therushelementof a dryingadhesive.Since Beva is completelydryat roomtempera-
tureit is easy to reassemblefragments and securethemin the rightpositionwitha
tacking iron.Beva was especiallyformulatedforan activationtemperature of 65-70'C
whichwas feltto be thebestforthermoplastic treatment of old, distortedpaintfilms
and cellulosetissues.At this temperature old paint filmsusuallybecome quite soft
and can be sufficiently bent to be broughtback into intimatecontactwiththe sup-
portingfabric.
4 - At a temperature of 650C Beva 371 becomesas tackyas a contactadhesive(adhesive
*A preliminary
versionof thisreportwas presented
to theConference
on Comparative
LiningTechniques
in Greenwich,
London,23-26April,1974.
Heat-sealliningofa tornpaintingwithBeva 371 127
tape) at room temperature. A firmbond can be achievedalmostinstantlyand with

minimalpressureso thateven themostdelicatetexturesdo not have to be damaged.
5 - Because Beva 371 does not have to be applied directlyto the objectsto be adhered,
and is viscousat activationtemperature, the smallestfragments can be put together
at leisurewithoutthedangerof soilingthem.
6 - Errorscan be easilycorrectedeven afterheat-sealingbecause Beva 371 is reversible,
easy to removeand can be remeltedwheneverneeded.
7 - Beva 371 has onlylimitedsolubilityat room temperature, thoughit absorbssolvents
and formsgels whichno longeradhere to the bonded materials.These gels permit
removalwithoutstaining.
8 - A large proportionof low-molecularsubstanceswithhighmeltingpoint have been
incorporatedin the Beva formulation. They make Beva 371 fairlyrigidand freeof
cold flowat room temperature. These qualitiesenable Beva 371 to keep the painting
straightafterliningand to providea firmbond forfacings.
9 - The largeproportionof low-molecularsubstancesin the Beva formulation enables it
to maintaina low viscositywhenused hotor dissolvedin harmlesspetroleumfractions.
This makes impregnation and consolidationof paint layersand canvas possible at
everystage of the liningprocessand eventhereafter,ifso desired.
10 - It is possibleto applyBeva 371 by brush,paintrolleror spray,withoutimpregnation
if solventswhichkeep theresinsin gel formonlyare used. It is also possibleto lower
the heat-sealingtemperatureby using Beva 371 filmshalf dry or moistenedwith
sprayed-onpetroleumfractions.
WhileBeva 371 providesa largesafetymarginin all itsapplications,instructionson how to
use it shouldbe carefullyfollowed.No adhesivecan givesatisfactory
serviceunlesscorrectly
applied. In fact,incorrectapplicationof any adhesivecan endangeror damage a workof
art.
In the followingpages theprocedureof a fairlyroutineliningwithBeva 371 is described
in detail.For additionalapplicationsofBeva 371 thereaderis referred
to otherpublications
by theauthorand byotherconservators[8-13].
2. VISUAL EXAMINATION
A fragilepaintingcan be easilydamagedby handlingand testing.Therefore, a thorough,

carefulvisualexamination mustbe consideredpartofthetreatment, and mustbe approached
withgreatcautionand precedeany physicalhandlingor manipulations.
'The First Sorrow', by RembrandtPeale (1778-1860), oil on canvas, 91-5 x 72-4 cm,
showinga sittingboyholdinga dead bird(Fig. 1).
The paintingwas paintedin theformofa verticaloval stretched on a rectangularstretcher.
The cornersand edgeswerenot coveredby paint and showedthe originalwhitepriming,
probablyhalf-oilgesso. The styleand techniquefollowedthatof the Englishschool of the
lateeighteenth The shadowpartsseemto havebeenpaintedfirst.
century. Theywerecovered
by a layerof fairlythinopaque 'body color' partiallyscumbledinto the stillwet shadow
parts withmediumrich oil paint. The shadows seem to have then been deepenedwith
transparent resinousglazes. Highlightswereput on thestillwet'bodycolor' witha heavily
loaded brushand freebrushstrokes,in lean,stiffoil paintformingan impasto.In theupper
corner,coveredby theinsertof theframe,therewas a notarizedhandwritten statement in
ink by the firstownerof thepaintingsayingthatshe had personallyacquiredit fromthe
artist.The statementwas followedby signaturesof theownerand thenotaryas wellas an
embossedseal of thenotaryaffixed in redembossedpaper.
The paintingwas damagedin transitin its lowerleftcenterby a clean,cross-shapedtear,
Studies in Conservation,20 (1975), 126-151
128 GustavA. Berger
FIG. 1 'The FirstSorrow',

byRembrandtPeale.
The damagedpainting beforetreatment.
30 x 9 cm, runningin thedirectionsof theweave of thecanvas. In addition,thepainting

had tornalong mostof its tackingedges.It arrivedattachedto thestretcher withmasking
tape,themaintearsecuredwithsurgicaltape,and a protecting canvasadded to thestretcher
fromits back unattachedto the painting.The natureof the damages indicatedthat the
originalcanvaswas in a stateofadvancedembrittlement. Indeed,itseemedthatthedamage
mighthave been avoidedhad thepaintingbeen linedin time.
Strongcuppingwas visible,especiallyin thelighterareas oftheboy'sfaceand hands,where
thepaint had been applied in a heavylayer(Fig. 2). However,the groundand paintlayer
weresound and firmly attachedto the supportoverthewholesurfaceof thepainting.No
paint loss could be detectedexceptforthe centerof the tear,wherea previousdamage
had been repairedby a smallgluepatch,and a tinyperforation leftuntouchedin the right
upperquadrant.
The resultsof thevisualexaminationcan be summarizedas follows:
1 - In addition to repair of damages, immediatefurthertreatmentwas necessaryfor
preservation of thepainting.
2 - Althoughfragile,the Peale paintingcould safelybe examinedand photographedfrom
all positionsifcarewereused.
3 - The conditionof the paint layerwas good withno losses exceptminorones in the
immediatedamagedarea. The strongcuppingindicatedneedforspecialtreatment.
4 - The advancedstateof deterioration of thecanvas,coupledwiththelargetear,required
thepaintingto be lined.
As part of thevisualexamination,and continuing througheverystageof theconservation
treatment, photographicdocumentationsof appropriatetypeweretakento recordevery
possiblestructural change.
3. PHYSICAL EXAMINATION
Each step of thisexaminationhad to be takenin such a way as not to interfere

withthe
treatmentto follow.If visual examinationwere to findthe paint filmloose, flakingor
Heat-sealliningofa tornpainting
withBeva371 129
FIG.2 Photograph ofa detailofthepainting

by
Pealeinrakinglightshowscuppingof theheavy
paintlayers.
powdery,physicalexaminationwould have to be postponeduntilafterconsolidationand

facingof the paint layer.
In thecase of thePeale painting,applicationof a facingwhilethepaintingwas stillon the
old stretcher
was decidedagainstforthefollowingreasons: 1. It wouldhave obstructed the
alignmentof thetear.2. The adhesivewould have contaminatedtheedges,thusmakingit
impossibleto bridgethemperfectly. Further,3. If an aqueous facingglue wereto be used
it mighthave caused distortionof the canvas upon application,and would have induced
tensionsupon dryingof thepaper.If a wax facingwereused,it could notbe appliedto this
brittlecanvas in such a way as to be perfectly flat.In addition,the wax would have
the
penetrated cracks,makingstraightening of the It would also
paintingmore difficult.
have impairedadhesionof anyadhesivewithgreaterstructural strengththanthatof wax.
To permita thoroughexaminationof bothsidesofthepaintingtheloose protective canvas
backingand the mendingtapes had to be removed.At thistime,testswerecommenced
to determinethe safetyof planned treatments and procedures.Solubilitytestswere per-
formedon thevarnishand paintin obscureareas whichprovedto be resistantto naphtha
and toluene.The varnishprovedto be soluble in isopropylalcohol, a solventwhichwas
foundharmlessto eventhethinnest darkglazesand redcolorsofthepaint.
Afterthe solubilityteststhe paintingwas sandwichedbetweentwo cardboardsand put
on thetable face down. The protectivecanvas was discarded.A stampon theback of the
originalcanvaswiththenameand addressofa New York artsupplystorewhereithad been
preparedwas photographedfor the record.The tapes were then removedwith solvent
naphthaand toluene.
The nextstepwas to freetheedgesand thepaintingfromtheold stretcher. Furthertesting
on a smallstripof thetackingmarginby saturating withwaterfromtheback showedit to
130 GustavA. Berger
remainflat.Had it curledor contractedit would have been a warningof shrinkage,or

susceptibilityof the canvas to water.Similarly,anothersmall stripof marginwas tested
forresistanceto heat. The resultsindicatedthatthepaintingwouldwithstandexposureto
moisturenecessaryfortheapplicationof Watherston'svapor treatment for cupping [14]
withoutnoticeableshrinkage.The testsalso showed that the temperatures used during
vapor treatment (600C) and the standardvacuum hot table lining(700C) would neither
meltnor excessively softenthepaintfilm.
Had the stripsfailedin eitherthe wateror the heat testany one or all of the following
special deviceswould have been used: a. A facingof thermoplastic materialwhichwould
leave no markon a softenedpainting.b. Wide marginsof moistenedwrappingpaper ad-
heredall aroundto thepaintingand to a strainerwhichwould contractupon dryingand
stretchthepainting.c. Increasedpressureon thehot table. d. Treatments withoutheat or
moisture,as, forinstance,in a press,etc. Had the stripsfailedthe solventtests,different
typesof adhesives,such as glue or wax, would have had to be consideredforliningand
consolidation.
The amountsof pressureand heat a paintingcan sustainwithoutdamageto itstextureare
usually interdependent. It is the aim of the tests describedabove to determinewhich
combinationof heat and pressure,and possiblysolventvapors,will be optimalfromthe
standpointof safety,i.e. will be least likelyto cause damage,and stillreturnthe distorted
paintlayersto theiroriginalposition.Beva makesit possibleto line paintingswithoutthe
use of pressure.Pure solventapplicationat room temperature has been reportedby Buck
[11] and Berger [9].
The paintingwas inverted, and thetapesfromthetorntackingedgeswereremoved.Loose
pieces of thetackingmarginswerecarefullymarkedfortheirlocationand put aside. The
paintfilmand varnishweretestedfortheirreactionto heatand pressure,withand without
applicationof solvents.This testwas repeatedseveraltimes,especiallyon thedarkand red
paintswhichare usuallysofterthanothers.Safe practicewould requireeach distinctpaint
filmto be testedat leasttwice,once in theimpastoand againin theglazes,especiallyifthe
techniqueoftheartistis notwellknownto theconservator. In thecase ofthePeale we were
thoroughly familiarwithhis technique,and have also foundthevarnishto be quiteheavy
and resistantto pressureand abrasion.The varnishwas therefore lefton to protectthe
paintingduringtreatment. Had thisnotbeendone,theareassusceptibleto heatand pressure
would have had to be protectedwithadditionallayersof varnish,carefullyapplied so as
not to contaminatetheedgesofthetear.
At thispoint,thecanvas,testedforaciditywithan archivist'spen (Appendix1), was found
to be highlyacidic. Testedforabrasion,it was foundto be crumblingto dust,absolutely
incapableof further supportingthepainting.Indeed,in thiscondition,effective adhesion
to a newliningwas impossible.
Summarizing theresultsofthephysicalexaminationit was concluded:
1 - That the tapes on the back and frontof the paintingcould safelybe removedwith
solventnaphthaor toluene.
2 - That theold varnishcould be removedwithoutdifficulty withisopropylalcohol.
3 - That Beva 371 could be used bothforthefacingand lining,sinceit is solublein mild
hydrocarbon solvents.
4 - That the paintingcould safelybe exposed to relativelymild solventssuch as toluene
or isopropylalcohol,in orderto softenthepaintlayerfortheremovalof cupping.
5 - That thecohesivestrength oftheoriginalcanvaswas too low forit to adhereeffectively
to any new support.The canvas would have to be eitherremovedor treatedin such a
wayas to becomea cohesivelayeragain.
6 - That a facingcoveringtheentirepaintingwouldbe necessarybecause of theprecarious
conditionof thecanvas.
20 (1975),126-151
Studiesin Conservation,
withBeva371 131
Beforeapplyingthefacingthetear had to be treatedand properlyaligned.Otherwisethe

facingmighthave pulled thetearfurther withthepretreatment
out of position,interfered
of theedges,and generallyobscuredit. If, forinstance,the canvas of a tornpaintinghas
been pulled and dentedby the impactof the forcecausingthe tear,it is usuallyeasierto
shrinkit and returnit intopositionby local applicationof heatand/orhumiditybeforethe
surfaceis obscuredby a facing.The same appliesto othertreatments.
4. CONSOLIDATION OF A TORN PAINTING
If a tornpaintingis laminatedto anothersupportwithoutpriorbridgingof the tear it

remainsweakestin the tornarea. When exposed to stresssuch as duringstretching, by
vibrationswhilein transport,by changesin humidityor temperature, the unjoinedtorn
areas are solely supportedby the new, softliningcanvas in contrastto the rest of the
in theplane of thepainting,as theedgesof
painting[6] (Fig. 3). This causes deformations
C:
...
..... . .......... ...
...... ........................
....
.... ~ i: : .:ii
i4, ... ..... .. .. .:.. . . ...
....... .. . .. ... .
.....
....?iir:.
.
..........
l..
iii~~id
-?i;--;t-?
FIG. 3 Modelsmadeoffoamrubber;thetoppart(white)represents thetornpainting, theshaded

partstandsfortheliningsupport.(a) The tearwas notclosedpriorto lining.The liningcanvas
expandsmoreat thepointofthetear,causingtheedgesofthetearto floatapartandriseoverthe
planeof thepainting. Thisexplainswhya rigidfabricsuchas fiberglass, whichhas hardlyany
elasticor plasticdeformation,
is superior to canvasor syntheticfabricswithextreme elasticand
plasticdeformation (see Appendix2). (b) The commontreatment oftears:A thinpieceofpaper
or gauzeis gluedunderthetear.Itseffect is detrimental.
The reasonis showninFigure3c. (c) A
patchgluedto one sideofan elasticmaterial itsuniform
hinders expansionon thisside.It causes
theoppositeside to bulgeout. (Maskingtapewas usedon themodel.)Thiseffect is stillmore
pronounced whentheothersideis torn,as in Figure3a. It explainsthefutilityof thetreatment
shownin Figure3b. (d) The tearis firmly closed(herebytape).Thereis no deformation of the
laminatewhenputundertension.
theteartendto riseoveritsplane. However,normalpropagationof stresscan be restored

if the tear in the originalcanvas is joined, or bridged,by an adhesivefillerbeforelining.
Ideally,thefillershouldconnecttheedgesofthetearin everydirection.Thisis mechanically
easiestto achieveifa layerof equal thicknessto themissingpartsofthepaintingis bonded
withtheinterfaces of thetear.This layershouldhave thesame characteristics as thepaint-
ing: the same stiffness, identicaltensileproperties,and the same responsesto changesin
temperature and humidity as therestofthepainting.
Certain epoxies, internallyplasticizedwith an amide hardener,can be usefulfor this
purpose [15]. The handlingqualitiesand structural characteristics
of theseepoxiescan be
modifiedby the amountsof hardenerand fillerused, and theycan be coloredto match
eitherpaintingor canvas. Solventsand elevated temperatures (650C), which mightbe
necessaryin thefurther treatment of thepainting,do not seriouslyimpairtheadhesiveor
cohesivestrength ofepoxies,northeirexcellentageingqualities.The epoxyfilling effectively
replaces the lost structuralstrength of the missingpartsof the originalcanvas and paint
filmbyreuniting thetornedges.The irreversibilityoftheepoxybondbysolventsis therefore
20 (1975),126-151
132 GustavA. Berger
essentialforthisapplicationthoughit seemsto argueagainstitsuse in conservation.How-

ever,forthis applicationthe epoxy is plasticizedto such an extentthatit can be easily
reversedby mechanicalmeans. It is possibleto applyit at a viscositywhichwillprevent
itfromspreadingand stainingthesurrounding partsofthepainting.It containsno solvents
whichwould harmthepaintingin any way,nor does it shrinkupon drying.Anyminimal
complicationofthestructure is morethanoffsetbytheadditionalsupportprovidedby this
bridgingtechnique.
It shouldbe bornein mindthatit wouldbe moredifficult to removeeitherwax or aqueous
adhesivesfromthe weakenededges of a tear aftertheirpenetration.Further,wax and
aqueous adhesivesrequireheat and humidityfor theirapplication,each likelyto cause
damage,suchas shrinkageand staining,to theaffected
irreversible areas as wellas possible
additionalpaintloss.
A novel systemis describedbelow whichconfinesthe epoxyto the tear. Thus it cannot
damage or obscureany undamagedpart of the paint layeror canvas. Only a thin film
remainsin thetear,whichcan be removedwitha scalpel.
5. PREPARATION OF A PAINTING FOR BRIDGING OF TEARS WITH EPOXY
Epoxyformsa strongbond onlywithreasonablyfirmsurfaces.Therefore, thefirststepin

bridginga tear mustbe the consolidationof all loose partsof paintfilmand fabricsur-
roundingthetear.It is essentialforthesuccessofepoxybridging to use in theconsolidation
processonly such materials as are compatiblewith epoxy. Animal glueand certainsynthetic
resins,especiallysoluble nylon,are quite suitableforthispurpose [16, 17]. NeitherBeva
nor wax adhesivescould be used forthe consolidationof loose parts of a tear priorto
bridgingwithepoxybecause epoxydoes not adherewell to either.On the contrary, Beva
is used as a barrierwhich preventsthe spreadingof epoxy while bridgingthe tear.
If the edges of the tear have been coveredwithBeva or wax eitherby accidentor in a
previousliningor patching,theseadhesivesmustbe carefullyremovedbeforebridging.
Thiscan be accomplishedfirstmechanically, thenbyapplicationofblotting-paper saturated
with petroleumsolvents.Aftershort soaking most of the remainingadhesive can be
removedwiththe help of a warmiron. Additionalcleaningof the edges withmethylene
chlorideusuallyprovidesa surfaceclean enoughfortheadhesionofepoxy.
In the paintingby Peale consolidationof the paint filmwas unnecessary.However,the
canvas was disintegrating to such an extentthatit would have been impossibleto apply
the epoxyto the edges of the tearby spatula,or to even it out subsequently by scraping.
The edges of the tear were therefore consolidatedwithsoluble nylon(preliminary tests
having shown the paintingto be resistantto its solvents).Soluble nylonwas selected
because stainingis slight,it causes littleshrinkage,and cross-links withepoxyto forman
excellentbond.
Aftershortdrying(about 30 min)the edges of the tear are checkedforalignment.Over-
lappingedgesand freethreadsare trimmedoffiftheyinterfere withtheproperalignment,
or makethetextureof thesubsequentfillingirregular. If a largerarea of canvas is missing,
inlaysare bestpreparedat thistime.A piece of primedcanvas is insertedintothe area of
loss and manipulatedinto the best possiblepositionwiththe help of pins. In verylarge
inlaysit oftenhelpsto adherethecanvasused fortheinlaytemporarily to a thincardboard.
Wherever the
possible inlay should be drawn from theoriginal canvas found in thetacking
marginsof thepainting;otherwisea matchingweave is selected.Whenthecanvas forthe
inlayis fullyaligned,it is keptin place by paper-weights or manualpressure,and cutwith
a wedgelikescalpelalongtheoutlineofthetear.The completedinlayis thencarefully freed
fromits backing,ifany,marked,and put aside untilneeded.The edges of thetear,loose
piecesof theoriginalcanvas,and inlayswillhave to waitto be tackedin perfectalignment
to theheat-sealfacingdescribedbelow.
withBeva371 133
*-*'*'. - L--~:~??.
? . ...E
Ag
It
, e...:..
rr~r
?!
WAIP
FIG. 4a FIG. 4b
FIG. 4 (a) Thefront
ofa tornportrait
before
treatment.
Scaleon top-20 cmfromscrewto screw.
(b) The sameportrait ofthetearswithepoxy,yetbeforelining.Notetheinlayin
afterbridging
theupperrightcorner.
6. HEAT-SEAL FACING
The heat-sealfacingservesa triplepurpose: 1. It holdsall tornpartsofthepaintingand the

necessaryinlaysfirmly in perfectalignment, 2. It keepstheinterfaces of thetearclean and
readyforbridgingwithepoxy,and 3. It completelypreventsthe spreadingof epoxyover
thefaceof thepainting(Figs. 4, 5).
The Peale paintinghad considerableimpasto and sharp brush-strokes. In such cases
PromatcoLining(see Appendix1) is best suitedforthe preparationof heat-sealfacings.
PromatcoLiningis a tough,flexible,non-woven,acid-freetissue.It is ratherheavyand
spongyto thetouch,easilystretchable and therefore capable of followingall butthemost
extremeimpasto.It is quite stableduringchangesof heat and humidity, and stiffenough
to be easily handled withoutcreasing.
The heat-sealfacingwas preparedin the followingmanner:A piece of PromatcoLining,
about 15 cm largerthanthe paintingall round,was lightlystapledto a smoothplywood
board to keep it in place. The area to be coveredby thepaintingand tackingmarginplus
2 cm all roundwas outlinedwitha pencilin the centerof the PromatcoLining.A thin
coat of undilutedBeva 371 was appliedby rollerovertheoutlinedarea. This firstcoat was
to preventpenetrationof theadhesivethroughthepaper.Afterdryingfor12 h, additional
coats of Beva weresprayedon. The finalthicknessof theBeva coatingwas determined by
theroughnessand susceptibility to stainingof thesurfaceto be faced.One thincoat would
usuallybe enoughforfinetissuesand silk,whileroughbrushstrokesand heavyimpasto,
as in thePeale painting,requirethreeor morecoats of Beva.
Aftertheheat-sealfacinghad thoroughly dried,for 12 h or more,it was put face up on a
piece of silicone-coatedpaper (Appendix1) to preventit fromlaterstickingto the table
duringtackingif some adhesivehad penetratedit. At this point the facingwas freeof
20 (1975),126-151
134 GustavA. Berger
?E
P,.
W..AD
?-??
?"~
"k:?:?rt
PIs .....
..... ...
W?..
i?;?
r
N.
N tf8.::..:...,
Is
.0
&'q(:
I tt
Itltv ??.i
r??
%X!
fB
W:R.: .-M
g"~:
MI:i
:
?i L:. ".:[..:.
:
M. . ..... ???'i?~;
N
. .1:'
:; .., . ... . ....
A'
%
%??
xx -,.i
%? l`
..
N.?r WEi
si.z. -s '.:.';i,
. . . . . . . 1.. ........
.i i:,:C.: i :.: " ..
.: .'?.::;
.. ' ?ii . .. . "<'i71 . !!i5
o,r? :!~i!i. ?i,'::.!:. i ..... .... ?,,,.':. , i,
FIG. 5a FIG. 5b
FIG.5 (a) Thebackoftheportraitin Figure4 beforetreatment.
(b) The samepainting mounted
on a heat-seal A sketchmadebytheartistinhisyouthwaslatermounted
facing. at an angleto the
direction in thatmounting.
oftheweave.The upperleftcornerwasleftuncovered For ourlining
an inlaydrawnfromthetacking edgewasinsertedandheat-sealed
to thefacing.
tack. It was thereforeeasy to place thepaintingface down on top of the heat-sealfacing

and arrangethetornpartsin perfectalignment.
In verysoftand distortedpaintingsit is advisableto attacheach partlightlyas soon as its
alignmentis secured,startingfromthe centerof the damage. A lighttouch of a heated,
smallelectricspatula is sufficientto tack each pointin place, sinceBeva becomestackyat
about 50OC and holds firmly withoutfurther pressure.In this way, loose pieces can be
returnedand stretched intotheirproperposition(some textilesand lace can be practically
reconstructed). The weave of thecanvas and irregularities of theyarnserveas an excellent
guide,providing a grid in the plane of the fabric(thintextilesand paperscan be mounted
in thismannerfaceup, fromthefront).As soon as a tearis securedtheremaining missing
spaces are filledwithanypreviouslypreparedinlays.Whenan area thesize of a hand iron
is tackeddown,itis heat-sealedwitha heavyironat 650C. Afterall thetornareas havebeen
attachedto thefacing,thewholepaintingcan be lightly ironedbyhand.
The hot table was coveredwitha sheetof strongwrappingpaper,slightlylargerthanthe
facing.The 'faced' paintingwas again sandwichedbetweentwo cardboardsforsafetrans-
portationto thehottable.It was placed,faceand facingup, directly on thewrappingpaper.
The hottablewas turnedon, and thefacingfirmly bondedto thepaintingat 65TCand light
vacuumpressure.
The purposeof thewrappingpaperunderthepaintingwas to preventtheprotruding edges
oftheheat-sealfacingfromsticking to thehottable.Theyweresealedto thewrappingpaper
instead,whilethecenterpartcoveredbythepaintingremainedunattached.The loose paper
was cutat theedgeand removedaftertheheat-sealprocess.This leftthepaintingand facing
20 (1975),126-151
withBeva371 135
FIG.6 A beadofepoxyis appliedto theedgeof

thetear.NotetheBevabarrieraroundthetear.
attachedto a stripor 'mat' of wrappingpaper all aroundthe edges. This 'mat' could be
used to stretch thepaintingon a Dutch strainer,shouldthisbecomenecessary.
It is not alwaysnecessaryto 'face' thewholepainting.In mostcases it is sufficient
to use a
patchthesize of a hand ironto be placed on thetornarea, and to heat-sealwiththe iron.
Special care should be taken in this case to securethe edges of the facingpaper to the
paintingby heat-sealingthem.Failureto do so could resultin breakageof thepaintlayer
whenthepaintingis pickedup (due to flappingof thefreeedges).
In thecase ofthePeale itwas decidedto 'face' thewholepaintingbecauseoftheprecarious
state of the canvas. Not onlywas it dangerousto handlethe paintingwithoutcomplete
facing,but reinforcement of thecanvas was necessaryevenbeforelining.
Aftersealingthefacing,all thehighpointsoftheimpastocouldeasilybe discernedthrough
theheavyfacing.At thisstageitis possibleto sandthefacingpaperlightly to thinthehighest
points,thento repeatthe facingprocedure,as describedin anotherpaper [18]. By doing
so itis possibleto cushiontheimpastostillmore.In thecase ofthePeale the'faced'painting
was onlylightlysanded,thenput face down on plywoodboard,cushionedwithone layer
of PromatcoLining.Too muchcushioningof theboard mightmake it too softto support
thepaintingduringscrapingoftheback.
The edgesof thewrappingpaper werefirmly taped to thesupportingboard. Thiswas done
to reducevibrationsduringscraping,and to preventany dustfrompenetrating underthe
facing.These edges could also have been used to stretchthe paintinghad this become
necessary.
7. BRIDGING (JOINING) OF TEARS WITH EPOXY
Havingprotectedthepaintingfromthefrontfromall contactwithepoxy,itis nownecessary

to protectit fromthe back. This is done by brushinga 2-3 cm wide stripof Beva gesso
(see Appendix1) aroundthe edges of the tear,as near as possibleto the tearbut without
actuallytouchingit (Fig. 6). Beva gesso in this applicationis used at the consistencyof
postercolor so as not to run and to be easily visible.The purpose of this Beva-coated
barrierstripis twofold:
1 - To strengthen theweak canvas sufficiently
forsafehandlingin thesubsequentsteps.
2 - To preventspreadingof the epoxybeyondthe actual tear,and to make removaleasy
in case ofaccidentalspreading(epoxydoes notstickto Beva and can be peeledofffrom
any Beva-coatedsurface).
The epoxyfillingwas preparedon a piece ofstiffMylar(MylarA-200or over,see Appendix
1) or silicone-coatedpaper. An epoxy and hardenersystemwhichformsa ratherlow
viscositymixtureat roomtemperature was selected(see Appendix1). Such a mixtureflows
20 (1975),126-151
136 GustavA. Berger
FIG.7 For curingtheepoxy-filled teara warm

ironis placedon thereleasesheetcoveringit.
freelyinto the edges of the tear and around any loose or brokenparts.If the edges are
raggedand thereare loose threadsit is best to use the epoxypure or witha minimumof
pigmentfirst.A bead of epoxyis floatedon thetearusinga narrowspatula,4-5 mmwide,
of thekindused to weighchemicals.As thefirstlayeris applied,anhydrouscalciumsulfate
filleris mixedwiththe remainingepoxy mixture,and pigmentsare added to give it the
color of eitherthe groundor canvas. CaSO4 is preferred as a fillerbecause it makes soft
fillingswhichcan be easilyscraped.The consistencyof the secondcoat shouldbe thatof
honey,forminglong threadswhendrippingoffthespatula.Witha littlepracticeit is easy
to draw these beads over the tears while the epoxy is drippingoffthe narrowspatula
(Fig. 7). An area of crevicesof thesize whichcan be coveredby a hand ironis thusfilled.
A piece of siliconepaper or Mylaris put overthe fillingsand a warmironplaced on top
of it. The temperature of the iron dependson the typeof paintingand the speed with
whichthe conservatorwishesto proceed.Highertemperature lowersthe viscosityof the
epoxy and makes it flowinto all the creviceswithout bubbles of air, and epoxybecomes
structurally strongerwhencured at elevatedtemperatures. Epoxy systemswhichrequire
6-8 h to cureat roomtemperature willhardenin only15 minat 65-75'C. Thisfactmakesit
possible to treat
verylong tearswith one batchofepoxymixture iftheunusedportionis kept
refrigerated whilethe firstor second applicationis beingcured.The epoxy fillingbeing
curedunderthe ironshouldbe closelywatchedby slowlyliftingone cornerof the release
sheetas a test.Whentheepoxyno longersticksto the releasesheet,it has changedintoa
gel. Althoughit has become a solid it is stillquite softand can be carvedwitha scalpel.
Any surplusepoxy risingabove the plane of the canvas should be removed.There are
usuallysome spots wherethe epoxyis too low, and thisis whenthe refrigerated portion
comes in handy.Afterwarmingthe Mylar-covered epoxyin thehand fora fewminutesit
is softenoughto fillthelow spots,whichmustthenbe coveredwithsiliconepaper again
and ironedonce more.Thus,fillingof thelacunae is accomplishedsimultaneously withthe
bridgingof thetears.Withmanyepoxiesa good bond betweendifferent layerscan onlybe
achievedas long as thefirstlayeris not yetfullycured(Fig. 8).
The methoddescribedabove is usefulforclassicaloil paintingson primedcanvas.Paintings
on unprimedcanvas or cotton have to be treatedwithepoxy fillermixturesof higher
viscositywhichdo notspreador stain.These mixturesshouldbe stainedto matchthecolor
of thesupport.It has to be bornein mindthatall epoxiesyellowconsiderably upon ageing.
Therefore, epoxyfillings mustbe carefullycoveredwithvinylor acrylicpaintevenif they
matchperfectly at thetimeof application.
8. PREPARATION OF THE ORIGINAL CANVAS FOR LINING
Preparingthecanvas oftheoriginalpaintingforliningbeginsonlyafterthetearshave been

inConservation,
Studies 20(1975),126-151
withBeva371 137
FIG.8 Evensmall,completely disconnectedparts

can be sealedin positionfromtheback of the
paintingbyusingtheweaveofthecanvasas a ref-
erencegrid.Thelacunaewerefilled
simultaneously
byplasticizedepoxy.Totalverticalextentofthe
tear--4cm,shownhalfthenaturalsize.
closed. Otherwise,treatingthecanvas mightresultin distortions whichin turncould make

properalignmentof thetearsimpossible.
It would be in the interestof preserving the originalcanvas not to obscureit by a lining
canvas, or to discolorit by the adhesive.Stainingof thecanvas and groundby adhesives
is not onlyan undesirabledamageto thisaspectoftheoriginalpainting,butit oftencauses
a changeof all the color values of thepaintfilm.This latterchangeis veryhardto detect
because of its overall effect.It is usuallyimpossibleto reverse.From the standpointof
conservationthe originalcanvas should thereforebe preservedwithas littlechange as
possible.*
The Peale paintingwas mountedon a heavyfacingmainlyto permittreatment ofthecanvas
with an aqueous deacidificationsolutionwithoutfearingdistortionsdue to changesin
humidity.To preventfurtherdecay of the canvas, the paintingwas treatedby Barrow's
two-stagemethod [21]. It was lightlysprayedwithan oversaturated solutionof calcium
hydroxide. Afterdrying, thepH ofthecanvassurfacewas checkedagainwiththearchivist's
pen, and theprocesswas repeateduntila slightlyalkalicpH was reached.Deacidification
mustbe carefully controlledand shouldnot completelyremoveacidityin orderto protect
*On OrrinH. Riley's[19] suggestionI havelookedintomeasuresforthedeacidification and preservation

of canvas.I had previouslynoticedthatcanvasenclosedin calciumcarbonategesso,as in theprimitive
panelsof thefourteenth and fifteenth remainedflexibleand unstainedafter500 years.Many
centuries,
testshaveshownthatpaperfilledwithcalciumcarbonatehas a muchslowerrateofdecaythanevenpure
ragpaper.J.Lodewijks[20]has calledmyattention to thefactthatlinenwrappings
ofEgyptian mummies
whichwerecoveredbycalciumcarbonateand gluegessoare stillquiteflexible and unstained today.This
seemsto indicatethata coatingof calciumcarbonateeffectively canvasfrombecomingacid and
protects
decaying.I believethatin additionto calciumcarbonateand calciumhydroxide, bariumhydroxide and
magnesium metoxideshouldbe quitesuitableforthispurpose.
20 (1975),126-151
138 GustavA. Berger
FIG.9 'The Princess in one ofthe

On thevacuumtablea smallunevenness
and thePea Effect'.
layersgrowsin dimensions
underlying witheveryadditional
layer.
the groundfromadverseeffectsof alkalineconditions.This was followedby treatment

withcalciumbicarbonateforneutralization. It resultedin a noticeableimprovement in the
resistanceofthecanvasto abrasionand in itscohesiveness.The improvement maypartially
be due to thewaterwhichmighthaveregenerated thedesiccatedanimalgluesize.However,
it was decidednot to dependon thistreatment alone. To securea sufficientlyfirmsurface
forthe attachmentof the new support,sizingwitha dilutesolutionof Beva buffered by
calcium carbonatewas applied to the back [22, 23]. Afterdrying,the canvas became
strongto permitthe smoothingof its irregularities,
sufficiently so importantforhot table
linings(Fig. 9). The irregularitiesthatprotrudedmostwereshavedoffwitha sharpscalpel.
A thincoatingofBeva gessowas drawnevenlyoverthewholepaintingto achieveadditional
smoothingand protection. Afterdrying, thiscoatingwas shavedoffwithscalpelsand razor
blades to leave it in the depressionsbetweenthe yarnsof the canvas weave only. The
calciumcarbonatein theBeva gessocoatingwouldhelpto neutralizeanynewaciditywhich
mightdevelopin the canvas or be introducedby air pollution.It was also to protectthe
canvas structure duringthe correctionof deformations such as the flatteningof cuppings
undervacuumpressurewhichwas to follow.
A paintinghas been definedas an illusioncreatedon a plane. This two-dimensional plane
formsa systemof reference forall thatis superimposedon it, be it flator textured.Even
three-dimensional itemsused in some moderncollagescan be called paintingsas long as
theyare builton a planesurfacesuchas stretched itsrestor-
canvas.If thisplaneis distorted,
ationis essentialfortheproperunderstanding ofthepainting.*
The treatment ofcuppingwas describedbyM. M. Watherston[14] whosevariousmethods
we have adaptedforour work.In theliningof the Peale painting,as in mostothercases,
thehot table was coveredwitha smooth,porous,synthetic fabric,previouslyimpregnated
witha siliconesolution.The silicone-impregnated fabriccoveringthehot tablewas in this
case sprayedwitha mixtureofalcoholand water.The paintingwas placed on themoistened
fabric,immediately coveredwiththe membrane,and put underpressure.The membrane
and breathersshould be ready because the smooth performanceof this operation is
especiallyimportant. It is possiblethattheoriginalcanvasmightshrinkundertheinfluence
of moisture.In such a case thevacuumpressuremustbe raisedto a maximumto prevent
movementof the canvas. We preferto givevapor treatment withonlya thin,transparent
facingon the painting,so thatits reactionsto the treatment can be closelywatchedand
controlled.In thecase of the Peale, previoustestshad shownits canvas to be resistantto
*Inthecase ofdistortionscausedbycuppingitis necessaryto bendthecuppedpaintfilmbackto itsoriginal

positioninorderto bringitintocontactwiththeflatsupportbefore liningorconsolidation.
attempting This
stepreducestensionswhichmightcause or havepreviously causeddelaminations.The tensionswithina
cuppedpaintfilmare suchthateventhestrongest adhesivewouldnot be able to readherethefilmto its
supportwithout priorsoftening ofthepaint.Vaportreatment softensthepaintfilm,and as a resultlower
temperature and less pressureare requiredfortheremovalof surfacedistortions. For example,during
vaportreatment thePealepainting was heatedto about600Cand heldundera barelyperceptible vacuum,
notregisteringon ourvacuumgauge.Theareasofthestrongest cuppingweremanually treated through the
membrane bypressing themdownwithagatestonesand electricironsheatedto 600C.It took50 minto
eliminatethecuppingwiththiscombination of heat + vacuum+ manualpressure, at whichtimethe
paintingwas underconstant carefulobservationthrough thetransparent Mylarmembrane. As soonas the
cuppingwas removedto oursatisfaction thethermostat was setto about500Cand thepainting dried.
Heat-seal liningof a tornpaintingwithBeva 371 139
FIG. 10 Removalof a heat-sealfacingin patch

form.The rolledoffMylarin the background
had coveredthepatchin orderto confinethe
vaporsofthesolvents
usedto softentheadhesive.
shrinkage.The vapor treatmentwas thereforegivenbeforethe heavyfacingwas removed.

Whena paintingis veryfragilea thininterleaf
maybe affixedto theback beforeremoving
the facing.
9. REMOVAL OF THE FACING
We prefernot to use a facingwhenmountinga consolidatedand straightened painting.

Sincewe use completely transparent membranes(Mylar0-5or polyvinyl chloride)theentire
liningprocedurecan be watchedwhilethepaintingis underpressureon thehot table,and
minordefectswhichmighthave escaped noticecan stillbe corrected.
The facingwas removedfromthe Peale beforethe vapor treatment. The paintingwas
heatedto 500C and, as a result,the adhesiveof the facingwas quite soft.The membrane
of thehot table was rolledback forthefacingto be coated withmineralspirits(of about
34 Kauri butanol,flashpoint 450C, Appendix1). It was again coveredwiththemembrane,
and the vacuum activatedfor a shortwhileto preventdistortionof the paintingduring
penetration of thesolvent.The membranewas liftedon one corner,and thefacingchecked
to see whetherthe adhesivehad softenedenoughto be easilyremoved.Leavingthefacing
partiallycoveredby the membraneenabledus to roll it offin one piece withmostof the
adhesiveadheredto it (Fig. 10). The remainderof the adhesivewas immediately removed
using petroleumsolvents.The paintingwas thencoveredwitha membraneof silicone-
coated Mylarand keptundervacuumpressureuntilit had completelydried.
If no silicone-coatedMylar is available, the paintinghas to be thoroughlycleaned or
coveredwitha thin,drysheetof facingpaperto preventit fromstickingto themembrane.
A new piece of Mylar should be used for the second treatment. While under vacuum
pressurethe Peale paintingwas carefullycheckedforpossibleirregularities in the filling
of the tear and the effectivenessof the vapor treatment forcupping.The old paintfilmis
usuallyquite softaftervapor treatment, and minorcorrections can be made at thispoint
byapplyingpressurelocally withan agatestone,roller,or a heatedspatula.Vaportreatment
can be repeatedshould it be necessary,usuallywithoutanotherfacing.At this stage we
like to fillthe lacunae withglue gesso. This preventspenetrationof the adhesiveduring
impregnation, ifany,and seals thegessofirmly to thelacunaeduringlining.It also prevents
penetration of solventsduringsubsequentcleaningof thepainting.
10. IMPREGNATION OF A PAINTING
ApplicationofBeva to theback ofa paintingis optional,thougha slightsizingwillimprove

adhesion.If thoroughimpregnation is requiredfortheconsolidationof loose paintit can
be givenon thehottableusingheatedsolutionsof Beva in slow-drying solvents.If followed
140 GustavA. Berger
byvacuumtreatment itcan ensurecompleteimpregnation. In thecase ofthePeale theback

ofthepaintingwas slightly sprayedwithBeva 371intoluene1:1. Sprayingwas doneto avoid
the possibilityof a brushor rollerpickingup thepreviouslyapplied Beva gesso. Spraying
is also recommended whenpenetrationof the adhesiveis to be completelyavoided as in
the case of gouaches or paintingson unprimed,roughcanvas. Thereis no need forthis
sizingon finetextilesand paperssincetheirsurfaceis sufficiently
smoothto providepoints
of attachment forthe backingmaterial.Afterspraying,thepaintingwas put aside to dry
whilethesupportwas beingpreparedforlining.
11. THE LINING SUPPORT
We preferto mountcanvas paintingson supportsmade of stretchedfabrics.Since the

fabricshave provedto be the
inceptionof canvas paintings,some 500 yearsago, stretched
safestsupportforpaintingsbecausetheyare:
1- Safe fromdeterioration caused by interiorstress(as opposed to panels).
2- Easy to handlebecause of theirlightweightper area.
3- More resilient to outsidestressthanothersupports.
4- Easy to repair because of theirporosity,accessibilityand permanentplasticityat
slightlyelevatedtemperatures [24].
For our stretched fabricsupportswe preferfiberglass forthefollowingreasons:
1 - It has onlynegligiblereactionto changesin temperature and humidity.
2 - It is notsusceptibleto attackbybiochemicalagents.
3 - It has about 10 timestheresistanceof naturaland othersynthetic fibersto tensilestress
and creep;it is a rigidfabric[25].
4 - It is completelyuniform.
The lastpointis themostimportant. Naturalfabricsare nevercompletely uniform and must
transmitsome of theirunevennessto the paintingduringlining.We call it 'The Princess
and the Pea Effect'(Fig. 9). Thus, supportsmade fromnaturalfibersare fromthe outset
not completelysatisfactory and theirotherqualitiesdecayrapidlyso as to make repeated
liningsnecessary(see Appendix2 forevaluationof supports).The advantagesoffiberglass
as a liningsupportwerediscussedelsewhere[26]. The Peale paintingwas therefore lined
on a fiberglassfabric[27]. Glass fiberis quite brittlewhen it comes out of the casting
furnace.In orderto be spun into yarnsand woveninto fabricsit has to be oiled. This is
done witha starch-oilbinder,called 'greize'whichseverelyaffects adhesion.It is therefore
essentialto use theso-called'pretreated'gradeoffiberglass fabric.In thepretreatment pro-
cess the greizeis burnedoffand synthetic resinsubstituted forit. The treatment is called
aftertheresinused,in ourcase 'Volan'. The typeoffiberglass fabricwe use in directcontact
withthepaintingis called 'style116' (Volan treated).It is thefinestweave availablefrom
BurlingtonGlass Fabric Company(Appendix1).
Since glass fiberhas littleelasticityit cannot be stretched,nor can it snap back when
distorted.It is therefore use to keepit on theoriginalroll,as shipped
essentialforitsefficient
fromthe factory.This roll too has to be handledwithcare and storedin a horizontal
position.If a smallerportionis needed it should be rerolledand carriedin horizontal
position,neverfolded.Anyremnants can be hungor stapledto a wall.
12. PREPARATION OF FIBERGLASS FABRIC FOR LINING WITH BEVA
We liketo mountpaintingson twolayersoffiberglass fabric,themiddlelayerbeingcoated

to as 'sandwichlayer'.The procedureused to prepare
withBeva on bothsides,laterreferred
thesandwichlayeris givenbelow:
withBeva371 141
1 - A strainer,the size of the largesttable in the studio,is prepared(2 x 1-25m is our

usual size). It is moreeconomicalto coat a largerpieceoffiberglass sincetheremainder
can safelybe keptforfuturelinings.
2 - A piece of fiberglass largeenoughto be stretchedon the straineris unrolleddirectly
on the table.
3 - To avoid unravelling whilecuttingfiberglass it is bestto securetheedgeswithmasking
tape. The tape should not be stretched, and tapingshould beginat the centerof the
cuttingline and move gentlyoutwardsin both directions.The measuredpiece of
fiberglassis then detached from the roll by cuttingthroughthe middle of the
tape.
4 - If the fiberglasshas been treatedcarefullyit will lie almostflatwhen rolled on the
table. It can be further flattenedby lightpattingby hand or witha dustingbrush,
beginningat the centerand movingslowlyoutwards.This permitsthe yarnsto slide
past each otherto assumea perfectly flatposition.Sincefiberglass cannotbe stretched
thisstraightening takestheplace of stretching.
5 - The previouslypreparedstraineris thenplaced in a perfectly alignedpositionon top
of thestraightened The edgesofthefiberglass
fiberglass. are thenlightlystapledto the
strainerusingverylightpull. This can bestbe done by twopeople pullingagainsteach
otherfromboth sides of the strainer.If two people work simultaneously theystart
fromthe middleof the long sides. If one personworksalone, it is usuallybetterto
startfrombothends of a long side and finishone longside beforemovingto thenext.
Afterattachingthefiberglass thestraineris put aside.
6 - A flatworkingtable(or surface)thesame size as or largerthanthestraineris covered
with a non-absorbent,silicone-coatedrelease sheet (silicone paper, silicone-coated
Mylar,etc.,Appendix1). The strainerwiththeattachedfiberglass is placed on top of
the table and its insideand outsidecornersare markedwitha Magic Markeron the
siliconepaper,to serveas a register.
7 - The straineris put aside again but withinreach,and thesiliconepaper is coated with
Beva, rolledon theinnerrectanglemarkedon theregister.
8 - The stretched fiberglassis immediately puton top ofthewetBeva-coatedsiliconepaper
by aligning the straineron the outer registermarks.Beva is now rolledon theupper
side of the fiberglass, startingfromthe centerin theformof a Union Jack,thencon-
tinuingalwaysfromthecenteroutwards(Fig. 11). This actionprovidesan additional
stretching of thesandwichlayer.Anywrinklesaccidentallymade shouldbe smoothed
out eitherby hand or witha rubbersqueegee.An interleafof Pellon or some other
materialmayalso thenbe put on top of thestrainerand coated withBeva in thesame
manneras thefiberglass.
Alternatively, a Pellon interleafcan be preparedin the same manneras the sandwich
layer.
Sometimesbubblesformon thesandwichlayerbecause of the vapor pressureof the
evacuatingsolvents.These bubbles are harmlessand vanish when the Beva melts
duringheat-sealing.As with everything else, practicemakes perfect.Aftera few
applicationsenough experience gained to apply an even coat of just the right
is
thickness.
9 - Afterdrying,forat least an hour or two, the strainercan be invertedtogetherwith
thesiliconepaper whichsticksslightly to it. The siliconepaper is thencarefully rolled
offthe fiberglasswithoutkinkingit; thus the siliconepaper can be re-usedseveral
times,as long as it is reasonablysmooth.Afterthatit can be cut into smallerpieces
and used fortheconsolidationof blisters,preparationof epoxy,and wherevera small
releasesheetis needed.
10 - The sandwichlayeris normallyused only 18 h afterimpregnation, whenits heat-seal
2 Studies in Conservation,20 (1975), 126-151
142 GustavA. Berger
FIG. 11 Preparation
ofthesandwichlayer.Roll-
ing Beva onto thestretched starting
fiberglass,
fromthecenterand movingoutwardsmakinga
UnionJack.
bond reaches95% ofitsstrength on activationat 65-700C.It can be storedindefinitely,

always readyfor use.
If activationat lowertemperature is desired,dryingtimeshouldbe reduced.Such a bond
will reach its full strengthonly aftercompletedrying,and the danger of bond failure
as wellas of stainingis increased,unlesstheheatis turnedoffimmediately afterthebond is
formed.Heat-sealadhesiveswhichare notcompletely dryhaveto be verycarefully watched
duringactivation.
ImpregnationwithBeva solutionsshould be done in well-ventilated rooms. It is best to
have one or two exhaustfanson one side of theroom,and open windowsor doors on the
other,to assurean evenflowof air over theworkarea. Applicationis preferably done in
theevening,as thelast operationof theday,beforeleavingthestudio,to avoid prolonged
exposureto solventvapors.*
When large areas of canvas or fiberglasshave to be coated withBeva, the Beva solution
should be retardedby addingmineralspiritsof highflashpoint. Solv. B (Appendix1) and
mineralspiritswith over 34 Kauri butanol are preferred. At least 15-25% of retarder
shouldbe added to theregularBeva. It is good to workin a teamof two to assurean even
flowof the work.Otherwise,Beva mightdryprematurely, thusmakingeven application
difficult.The beginneris advised to acquaint himselfwith the procedureon small to
medium-sized paintingsbeforeattempting a largeone.
SurplusBeva maybe returned to thecan.
Rollersare best storedin a tall,tightly closedjar, witha littlesolventnaphthain it. They
can be used indefinitely withoutbeingcleaned.The Beva collectingon the bottomof this
jar, filmsof Beva peeled offthesiliconereleasesheet,and scrapsfromtherollingpan, can
all be dissolvedin naphthaand toluenein a double boiler.The solutioncan be used for
facings,consolidationof blistersand in thepreparationof Beva gesso.
13. HEAT-SEAL LINING
The hot table is carefullycleaned and coveredwitha releasesheet,preferably Mylar,if

available in a largeenoughsize. However,paper or fiberglass, or any othertissuecan be
used,ifit is availablein a size largeenoughto be putunderthepaintingin one piece.Seams
shouldbe avoided.
*Bevais dissolvedin mixtures of aromaticand aliphaticpetroleumsolventsof thesametypeas are used

The aromaticcontentof thesolventsin Beva putsit in aboutthemiddlebetween
in all artists'varnishes.
Rembrandt varnish andParaloidB-67(30%) on onesideandParaloidB-72(Rohm& Haas)
(15% aromatic)
(100% aromatic)on theother.Beva 371(60% aromatic).
withBeva371 143
A sheetof fiberglassis thenrolledon the table and a piece cut offto cover thepainting,
leavinga marginof at least 15 cm all round. This unimpregnated bottomsheet serves
severalpurposes:
1 - It preventsthe sandwichlayerfromstickingto the Mylar.
2 - Preventing theformationof a seal withthe Mylar,it assuresan evenevacuationof air
fromunderthepainting(forminga porousbreatherunderthewholepainting)[28].
3 - It providesspace forsurplusBeva in case of unevenapplication.SinceBeva is manually
applied,some unevennesscan be expected.Because of itshighviscosityBeva cannotbe
pushedoutsideor flattenedout, as is thecase withwax or glue,but it is easy to push
it downintotheunimpregnated bottomsheet.
4 - The unimpregnated bottomsheetkeepsthefullflexibilityof theoriginalfiberglass,and
protectsthe actual sandwichlayer.For the bottomsheetwe use widerweave, more
porousfiberglass (Style1528 or 7428), unlesstheoriginalcanvas is verythinand even.
5 - The bottomsheetbecomespart of theliningstructure duringthe process,adheringto
the back of the sandwichlayer,and resultingin a two-plylining.
A passable,transparent liningcanbe madebyomitting thebottomsheetandusingthesandwich
layerdirectlyon topof theMylar. Special care mustthenbe takento preparea veryeven
and heavilysaturatedsandwichlayer(Fig. 12).
FIG.12 A painting
byGeorgiaO'Keeffesigned
on theback-Transparent
lining.
It is good practiceto checkeverylayerforpossibleforeignmatterbeforeit is put on the

hottable.Mylarand fiberglass, can be easilyinspectedsimplybyholding
beingtransparent,
themagainstthe light.
Afterinspection,thebottomsheetis put on thehot tableand pattedintoplace by hand or
brush,as describedabove. In thecase ofthePeale, a piece ofimpregnated Pellonpaperwas
thenput on top of thebottomsheetto makethelaminatemorerigidand to preventweave
interference [18]. For the adhesivebond a piece slightlysmallerthanthe bottomsheetis
cut fromthe impregnatedand dried sandwichlayer. This one, too, is inspected,then
droppedon top of thebottomsheetwithoutdisturbing it. This is bestdone by two people
each holdingtwocorners,or,in thecase oflargepaintings,byrollingit.Care mustbe taken
notto makeanyfoldsin thebottomsheetwhileadjustingthesandwichlayer.The painting,
carefullyinspectedforforeignmatteron bothsides,is thenput on top ofthesandwichlayer
withoutdisturbing it. It is easierto handlethesandwichlayerthanthebottomsheetbecause
it staysflat.
Breathersare put aroundthepainting,and itsfaceis inspectedagain. It is thencoveredby
a Mylarmembrane(Appendix1) and the vacuumturnedon. We favorthe use of Mylar
membranesbecause they are economical and highlytransparent.Rubber membranes
144 GustavA. Berger
FIG. 13 A paintingby Miro withveryheavy

impastobeingheat-sealed.
Thepolyvinylchloride
membrane theimpasto
follows Itstrans-
perfectly.
parencymakesconstant possible.
inspection
are less transparentthan Mylar and veryexpensive.Moreover,because of the strong

adhesionof Beva, a rubbermembraneonce in contactwithitcould notbe removedwithout
tearing.Since a separationsheetwould be necessaryto safeguardtherubbermembrane,it
is betterto dispensewithitcompletely. In thecase ofveryheavyimpasto,or bulkypaintings,
we use polyvinyl chloridemembraneswhich,whenheated,becomeevensofterthanrubber
membranes(Fig. 13). They are available at the priceof a separationsheet,and therefore
expendable.Heat 'activation'of the Beva-impregnated sandwichlayerbeginsonlyaftera
seal has formedon thetableand thevacuumis stableand satisfactory. The membrane should
lie on thetablecompletely with
flat, no folds, and exertan even and verylightpressureon
thepainting.Particularly in soft,modernpaintingsthevacuumpressureshouldbe minimal
at this stage,just sufficient to hold the membraneand laminatinglayersin place. The
paintingis thencheckedagain forperfectalignment withthesupporting layers,forpossible
foldsor otherfaultsin thelaminatesuchas accidentalimpurities in one ofthelayers.When
everything is satisfactorythethermostat is set at 600C, and thepaintingheatedas rapidly
as possibleto reach'activation'temperature. The temperature is beingcheckedwithat least
fivecontactthermometers (fourin thecornersand one in themiddle).The thermometers
should be placed on dark and thinpaintareas sincetheseare morelikelyto heat up fast.
A simplekitchentimeris beingused as an added precaution.Our hot tablereaches'activa-
tion' temperature in about 15 min,at whichtimethe timerrings.It servesto eliminate
humanerrorin readingthe thermometers as well as beinga safeguardagainsta possible
malfunction of thethermostats althoughwe use two of themconnectedin series.Whenthe
timerringsthethermostats are resetto 650C. Accordingto previous,stillunreported tests,
the paintinghas reachedabout 700C whenthe surfacethermometers show a readingof
650C. At thistemperature themembraneis muchsofterthanat roomtemperature, especially
ifit is a polyvinyl chloridemembrane.This permitsus to increasethevacuumifthedistor-
tions of the paint layercall for additionalpressure.This can be achievedby sealingthe
edgesof themembraneall aroundto thetablewithmaskingtape.
As soon as the thermometers indicatethatthe 'activation'temperature has been reached,
thethermostats are turnedto roomtemperature and thecoolingcyclebegins.The painting
is thusexposedto 'activation'temperature (65-700C) forless than 1 min.We considerthis
temperature to be optimal for the thermoplastic treatmentof the canvas and oil paint
layers,sufficient to straighten out distortionswithoutcausingdeformation of the brush-
workand impasto.Thus, the adhesiveis activatedand gripsthe canvas and paint layers
just at thetemperature whentheyare as plasticas can be withoutendangering theirform
or texture.The previouslydistortedpaintingis thusbroughtinto close contactwiththe
new support with the minimumof pressure.As the temperatureis rapidlyreduced,
the membrane,whichis also thermoplastically deformedby now, acts as a kind of cast
aroundtheimpasto.As a result,thevacuumpressurecan be kepthighand thelayersheld

firmly togetherin intimatecontactuntilthe adhesivesolidifiesand can hold the laminate
permanently in theimprovedcondition.At roomtemperature Beva has about 10 timesthe
strength of wax, i.e. sufficient
to preventrecurrence of delaminations.
If thereis reasonto believethata givenpaintingmightbe damagedbyexposureto tempera-
turesof 65-70'C, the 'activation'temperature of Beva can be loweredby lightlyspraying
thesandwichlayerwitharomaticmineralspirits,or preferably by usingthesandwichlayer
about 2 h afterpreparation, whileit stillretainssomeofthesolvents.In thiscase 'activation'
temperature can be as low as 40-45?C or less. The activationpoint is reachedwhenthe
previouslyopaque, ivory-colored Beva filmdarkensslightly and becomestransparent.
The porous bottomsheet permitsrepetitionof the vapor treatmentduringlining,and
afterwards. Should cuppingreturn,or deformations be caused by some lateraccident,the
be
paintingmay straightened againout on the hot table. It is also possibleto add another
liningcanvas,or solid support,by simplyapplyinga coat of Beva to thebottomsheetand
heat-sealingit again. Althougha fewsmall bubblesmightformduringthe applicationof
the adhesive,thereis no dangerto thepainting,and thebubbleswill disappearin lining.
Afterlining,thePeale paintingwas cleaned,inpaintedand varnished.
14. STRETCHING
Afterliningis completedthe stretching can be done in a routinemannerbecause the

impregnated behaveslikecanvas. Aftermarkingthepositionofthestretcher,
fiberglass the
top of the laminateis lightlyscoredalong the tackingedgeswitha bluntinstrument such
as a screwdriver,and bentat a 900 angle.The paintingis stretched,
and theedgesadhered
to the back of the stretcherwithBeva emulsion,or othersynthetic resinglue. Inpainting
and varnishing usually followthis stage.
Afterstretching, theedges of the Peale paintingwerecoveredwithcanvas tape to protect
themfromabrasion. The back of the paintingwas protectedwithan acid-freefome-cor
board (Appendix1). A label,statingthedate,numberof our conservationreport,and data
on thematerialsused duringthetreatment ofthepaintingwas affixedto thebackingboard,
and completedtheconservation job.
The conservation
proceduredescribedin thisreportwas filmed.Copies of thefilmmay be
obtainedfromtheauthor.
APPENDIX 1
MaterialsMentionedand theirSuppliers(in orderof appearance)

1. Beva 371
Solids SolventMixture
Elvax ResinGrade 150(du Pont)- 250 g Toluene or xylene
Ketone N Resin (BASF) - 150 g (aromaticcomponent) - 625 g
Cellolyn21 Resin (Hercules) - 20 g Aliphaticor naphthenic
A-C 400 Copolymer mineralspirits,B.P. 160-2000C - 375 g
(Allied Chem.) - 85 g (non-aromatic component)
oil free(650C melting
Paraffin,
point) - 50 g
Heat in a double boileron a closed electricplate,stiroccasionallyuntilall the resins
are dissolved.Aftercooling use the above solventmixtureto thin Beva to creamy
consistency.
146 GustavA. Berger
Beva 371 is producedand suppliedbyAdam ChemicalCo., P.O. Box 15,SpringValley,

New York 10977, USA, and by Lascaux, Alois K. DiethelmFarbenfabrik,8001
Zurich,Promenadenstrasse 14, Switzerland.
2. Archivist's Pen - For non-destructive testingof pH; suppliedby Talas, Division of
TechnicalLibraryService,104 5thAvenue,New York.
3. SolubleNylon- ElvamideNylon Resin 8061 or 8063, Du Pont de Nemours & Co.
Inc., Electrochemicals Dept, Wilmington, Delaware 19898,TechnicalBulletinA 73484
and A 74665 (1971).
4. Beva Gesso- Is preparedby addingSolv. B (see Solvents)to regularBeva 371 (1:4).
Gilder'swhitingand kaolin are stirredinto the adhesivemixtureto get a gesso con-
sistency.Beva gessocan be thinnedwithsolventnaphthaforeasyapplicationbybrush.
5. PromatcoLining- A verytough,flexible, non-wovensynthetic on cellulosebasis,with
a pH of (TechnicalBulletin LS-105-NW, Jan. 1971). ProcessMaterialsCorp.,
7-0-8.0
329 Veterans Boulevard,Carlstadt,N.J. 07072. Sold in rollsof 100 yards,47 in wide.
6. Silicone-coated Paper- Producedby Patapar Co., Bristol,Pa. 19007. (It is used by
bakersas a releasesheetand also in thepreparationof contactpaper.)
7. SiliconeSolution- Dow CorningC-2-0563- Water-repellent by Dow CorningCorp.,
Midland,Michigan48648.
8. Epoxy- With the help of W. J. Fullen of General Mills we have evolved a basic
formulafor a verysoft epoxy adhesive: Versamide 140 (polyamide)- 55%, Gen.
Epoxy 185 (epoxyresin)- 25 % and Mobilsol 44 (aromatichydrocarbon) - 20%. This
formulation has maximumsolubilityand can easilybe dilutedwithmanysolvents.
However,mostequal-partepoxysystemssold in tubescontainsimilaringredients and
can usuallybe plasticizedsufficientlyforour purposesby usingthemin 40:60 (resin:
hardener)proportion.
Epoxyresinsoftenchangeand deteriorate duringstorage.This is notverydetrimental
for our use because we do not want the epoxyto be fullstrength, thoughit might
affecttheproportionsgivenabove. It is therefore advisableto testtheepoxy-hardener
mixture beforeuse,and to keepepoxyresinsin refrigerated storageto retarddeteriora-
tion.
9. Mylar- Du Pont Electrochemicals Dept, Wilmington, Delaware 19898.
10. Fiberglass- BurlingtonGlass FabricsCo., 1345 Avenueof the Americas,New York
10019.(For largequantitiesonly.For smallquantitiesone shouldgo to MarineSupply
Storesor to suppliersofplastics.)
Style Yarn Warpand Thickness Weight Weave Max. Width
Fill (in) (oz/yd2) (in)
116 150- 60 x 58 0-0040 3-20 Plain 50
1528 150- 40 x 32 5-95 Plain 50
7428 1501 42 x 32 0.0070
0-0070 5-95 Plain 74
11. PellonNon-wovens - Suppliedby Talas, 104 5thAvenue,New York.
Solvents
A good solventfor Beva has to containabout 60% aromatichydrocarbons(tolueneor
xylene)and 40% low-aromatichydrocarbons such as low-aromaticmineralspiritsof high
flashpointor boilingpoint.Mixturesof aromaticand aliphatichydrocarbons are extracted
fromcrudeoil byfractional and are knownbyseveraldifferent
distillation, names:naphtha,
benzine (not benzene = benzol), mineralspirits,whitespirits,etc. Because petroleum
fractionsare naturalproductstheydiffer accordingto the raw materialsfromwhichthey
deriveand themethodby whichtheyare refined.Petroleumsolventsof different chemical
compositionhave thesame namein different countries,and evenpetroleumfractionspro-
Heat-seal liningof a tornpaintingwithBeva 371 147
duced by the same companyunderthesame name in the same countryvaryaccordingto

the raw materialsand the refinery whichproducedthem.For example,Shell producesat
leastsixmineralspiritsin theU.S. whichvarybyabout 5' in theirboilingpointand as much
in theirKauri butanolnumber.
While it is possibleto preparesolventsforBeva fromhighlyrefinedproducts,it is much
more economicalto use one or severalless refinedpetroleumfractionswhichwill give a
solventmixturein the 60 % aromaticrange.The regularsolventsused in our studio are
VM & P naphthaand mineralspiritsoftenwiththeadditionofSolv. B as an added retarder,
sinceitshigharomaticcontentfacilitates smoothapplication.
It is advisableto startwitha mixtureof 60 % xyleneand 40 % of a highlyrefined petroleum
fraction(low-aromatic)witha flashpointof 10-200C. The dryingtimeof thismixturecan
be adjusted by adding otherpetroleumfractionsof higheror lowerflashpointso as to
bestconformto therequirements of theindividualconservatoror any specificcase. Guide-
lines forthe selectionof petroleumfractionsare givenbelow. The list of solventsat the
end of thischapterdescribesthe ones we use. It is givenin internationally understandable
parameterswhichshouldhelp theconservatorto comparethemwiththeones availableto
him. The guidelinesare:
1. Retarding - If Beva driestoo fastadd a petroleumsolventwitha highboilingpoint.
2. Viscosity - If Beva-solventmixtureremainstoo stiffto make applicationeasy add
solventsof approximately10-13% aromaticcontent.If the mixturehas a high per-
centageof aliphaticsolventit gels, or becomescreamy;if it has a highpercentageof
aromatics,it is honey-like,or stringy.
3. Filmforming - If Beva formsa brittleor powderyfilmon solventapplication(cr in
gesso) add aromaticcomponents(toluene for fast drying,xylenefor slow drying).
Aromaticcomponentswill also improvethe self-levelling propertiesof thefilm.
4. Spraying- Is bestdone withhot solutionsof Beva. RegularBeva mixture, dilutedwith
toluene(1:1) to bringthe solids contentto 17%, formsthinfiberswhensprayedhot.
This mannerofapplicationis preferred fortextilesand forbondswhichrequireminimal
pressurebecauseit producesa veryflexiblefelt-like film.If thesprayis to forma closed
film,solutionsof only8-10% solidsin slower-drying solventssuch as Solv. B (Amsco)
are necessary.
5. Insufficient adhesionof sprayto the surface:(a) move sprayguncloserto the surface,
or (b) use slowerand morearomaticsolvents.
6. Purityofsolvents- An indicationof thepurityof thesolventsis thedifference between
the initialboilingpoint and the dry-end-point (see tolueneand xylenein the table,
below).A highpercentageofC8 and above (lastcolumnon table)shouldalso be avoided
unlesstheircompositionis known,as in thecase of xylene.A highdry-end-point and
yellow discolorationare danger signs.
Name of Solvent AromaticComposition%
Evapor- Initial Dry- Kauri AromaticParaffin Naph- C, and
ation B.P. End- Butanol thane above
Rate: Point Number Aro-
Toluene matics
=1
Toluene 1.00 110 111 105 100 0 0 0
Xylene 0-34 138 139 94 100 0 0 75
VM & P Naphtha
((Benzine) 0-45 113 143 34 9-5 72.8 17-7 7-7
OdorlessMineral
Spirits 0-03 179 190 28 0 84 16 0
MineralSpirits 0-06 156 198 36 15 49 34 15
AmscoSolv.B 0-12 137 190 73 70 15 14 52
Data copiedfrom:AmscoSolvents/Chemical
Polymer HotmeltAdhesives,
Emulsions, AmscoInternational
1345AvenueoftheAmericas, New York,N.Y. 10019.
148 GustavA. Berger
APPENDIX 2
Evaluationof Supports
Support Advantages Disadvantages
Canvas Traditionally wellknown. Weave interference and unevenness,

Has initialelasticityand humidity movements, cold flow,rapidloss
resistanceto abrasion. of elasticityand tensilestrength.
Masonite Alreadywellknown.Rigi- Humiditymovementsand distortions.
dityand resistanceto flow Many decayfast.Heavy weightendangers
undertension. paintingsin mountingand transport.
No weaveinterference. Removaldifficult: no access fromtheback
of thepainting.
Aluminum Good resistanceto ageing. Impossibility of removalfromtheback of
No weaveinterference. thepaintingmakesit unacceptable.Sup-
portsshouldbe removedfromtheback of
thepaintingso as not to bend thepaint
filmor put any otherstresson the
painting.Limitedin size.
Fiberglass Even structure.No creep. Low resistanceto abrasion.Hard to
Stretchesverylittleeven stretchin unimpregnated form.
underseverestress[25]. Weave interference.
No humidity movements.
Resistanceto mildewand
decay.
Teflon-coated As above. Good resistance Weave interference.
Minimalelasticity.
Fiberglass to abrasion.Ease of appli-
(TFG) no
cation: no stretching,
releasesheetnecessary.
Non-Wovens No weaveinterference. Usuallyconsiderablecold-flow.
Synthetic Even structure. Usuallyconsiderablecreep.Stretchcon-
Fabrics: siderablyunderlow stress.Cannotsupport
Nylon,etc. anybrittlepaintingwhichcan no longer
be stretched[25]. Weave interference.
Mylar Transparent.No weave Removalwithsolventsimpossiblebecause

interference.
Flexible(can Mylaris non-porous(thiscan be over-
be removedfromtheback interleaf).Too
come by usinga fiberglass
of paintings).Verystable. rigid.Some in
difficulty stretching.
No creep.
Tedlar? A polyvinylfluoridefilm. Considerablecold-flow(can be overcome
(du Pont) by usinga fiberglass
interleaf).
Kynar? A homopolymer polyvinyl
(Pennwalt fluoridefilm.
Corp.) Transparent.Flat. Porous
to some degree.Practically
indestructible.
Mixed Sup- As shownabove, theuse of severalcomponentsin a laminatehelpsto
ports eliminatesome of thedisadvantagesof a singlesupport.
20 (1975),126-151
NOTES AND REFERENCES
1 BERGER, G. A., 'FormulatingAdhesivesfortheConservation of Paintings',Conservationof

andtheGraphic
Paintings ofContributions
Arts,Preprints to theIIC LisbonCongress1972,
9-14 October1972,pp. 613-629.
2 LEENE, J. E., 'Restoration
and Preservation
of AncientTextiles,and NaturalScience',in
(Ed), RecentAdvancesin Conservation,
G. THOMSON London, 1963,pp. 190-191.
Butterworth,
3 UsefulforReliningof Paintings',PreliminaryReportto ICOM
LODEWIJKS,J., 'Heat-sealing
for theCare ofPaintings,Brussels,Sept. 1967.
Committee
4 MESSENS, G., 'A Note on the Reliningof a Permekeon the VacuumHot Table', IRPA
9 (1966),181-186(Flemish).
Bulletin,
5 BERGER, G. A., 'The TestingofAdhesives
fortheConsolidation
ofPaintings',IIC-American
GroupTechnicalPapers, 1968 through1970 (Copies may be obtained fromL. J. Majewski,
Chairman, ConservationCenterof theInstitute
of FineArts,New YorkUniversity, 1 East
78thStreet,NewYork,N.Y. 10021),63-71.
6 BERGER,G. A., 'Testing
AdhesivesfortheConsolidationofPaintings',
17 (1972),173-194.
7 FELLER, R. L., 'Resins and the Propertiesof Varnishes',On Picture Varnishesand Their
PartIII, PressofCaveWestern
Solvents, ReserveUniversity,
(1971),p. 143.
8 H., andBERGER,G. A., 'NewDevelopments
RILEY, O. intheConservation ofWorksofArt',
TheArtJournal, CollegeArtAssociation,
NewYork,31,(Fall 1971),37-40.
ofHeat-Activated
9 BERGER,G. A., 'Application fortheConsolidation
Adhesives ofPaintings',
Bulletinof theAmericanGroup-IIC, 11,No. 2 (1971), 124-128.
10 RILEY, O. H., and BERGER, G. A., 'New SolutionsforModernProblems',Museum News,
American ofMuseums,
Association DC,January
Washington, 1973,31-36.
forSupporting
11 BUCK, R. D., and MERRILL, R., 'HoneycombCore Construction Panels',
Bulletinof theAmericanGroup-IIC, 12, No. 2 (1972), 62-65.
12 RAFT, K. andA., 'Ein NeuesKlebemittelfuerRestauratoren', 1,(1973),
Maltechnik/Restauro,
31-39.
13 FIEUX, R. and LiningAdhesives
E., 'Consolidation Compared', Preprintsof Contributions
to
the Conferenceon ComparativeLining Techniques,National MaritimeMuseum,Greenwich,
London,April1974.
14 WATHERSTON,M. M., 'Treatment ofCrackedandCuppedPaintFilms',PapersgivenatAnnual
Meetingof IIC-American Group,Los Angeles,1969,pp. 34-52,Bulletinof theAmerican
Group-IIC, SpecialNumber.Copiesmaybe obtainedfrom:MissJeanVolkmer, TheMuseum
ofModernArt,NewYork.
15 'VersamidPolyamideResins',Technical Bulletin11-F-2,GeneralMills,ChemicalDivision,
Kankakee,Illinois,p. 7 Resinratio.See also TablesXVI, XVII, XVIII and p. 19.
16 Dr A. E. WERNER introduced theuseofSolubleNylonforstrengthening offragile
artobjects.
17 BAER, N. S., INDICTOR, N., andJOEL,A., 'TheAgingBehavior ofImpregnating Agent-Paper-
Systemsas Used in Paper Conservation', Restaurator,2 (1), (1972),5-23. Elvamide8061
(du Pont)was testedbyBaer,New YorkUniversity of FineArts,and foundto be
Institute
stillsolubleafterprolonged ageing.
18 BERGER, G. A., 'WeaveInterference in VacuumLiningof Pictures',Studiesin Conservation,
11,No. 4 (1966),170-180.
19 ORRIN H. RILEY, conservator of theSolomonR. Guggenheim Museumin New York,was
one of thefirstto recognizethepossibilities of thenewadhesive,Beva 371. He has since
collaborated withtheauthorin developing newmethods in theconservation ofpaintings.
20 LODEWIJKS,J.,CentralResearchLaboratory, Amsterdam-private communication, 1970.
of the Book: III, 'Spray Deacidification',W. J. Barrow Research
21 Permanence/Durability
Richmond,
Laboratory, Virginia, 1969.
22 ofConsolidation
BERGER,G. A., andZELIGER, H. I., 'Effects Measureson FibrousMaterials',
Bulletinof theAmericanGroup-IIC, 14,No. 1 (1973), 43-65.
23 HAYWORTH, C. B., OfWorldPatentDevelopment Corporation, summarized theresultsof
testsconductedby theUnitedStatesTestingCompany,Hoboken,N.J.,on theeffects of
of Whatman
impregnation No. 1 paperwithRegnal(R) 7P. The resultsshowed:1. thatthe
20 (1975),126-151
150 GustavA. Berger
tensilestrengthof the treatedsamples was double that of the untreated,2. that the folding
enduranceof Regnal (R) 7P-treatedsamplesremainedabove 1000evenafter48 days of ageing
at 100C comparedto around 30 for the untreatedsamples,and 3. that the pH of treated
sampleswas 7-7 comparedto 4-9 forthe untreated(beforeageing); pH of the treated6-8-
theuntreated (afterageingfor24 days at 1000C)-personal communication,1973.
24 4.5
URBANI, G., 'Dipinti Su Tela' in: Problemidi Conservazione, Ufficiodel Ministroper il Co-
ordinamentodella Ricerca Scientificae Tecnologica,EditriceCompositori-Bologna, pp. 9-20.
25 TASSINARI, E., 'Metodi di Caratterizzazionedelle Tele da Rifodero,Ibid, pp. 141-165, Ap-
pendiceI, Caratteristiche Strutturalie Meccanichedelle Tele da Rifodero,p. 150, Appendice
II, Analisi di Nuovi Tipi di Tele da Rifodero,p. 152, especiallyTabella V, p. 158.
Tassinarihas testedthemechanicalpropertiesof canvas,fiberglassand some synthetic fabrics
and foundthatBeva-impregnated fiberglasshas the highestresistance(per weight)to creep,
tensilestressand tearof all thesamplestested.In thesame tests,polypropylene fabrichad the
lowestresistanceto creepand the greatestelongation.
26 BOISSONNAS, A. G., 'ReliningwithGlass-FiberFabric', Studiesin Conservation,6 (1961), 26-30.
27 The systemdescribedis adapted fromVincentRiportella,Conservator,New York, who, to
my knowledge,was the firstto line paintingswith heat-seal methodsusing dry mounting
tissuesas earlyas 1956.
28 BERGER,G. A., 'A Vacuum Envelope forTreatingPanel Paintings',Studiesin Conservation,
10, No. 1 (1965), 18-23.
ReceivedI March1974.
GUSTAV A. BERGER, born1920,studiedartin Vienna,civilengineeringin HaifaTechnicalInstitute,

and
laterartrestoration in theBritish,
in Bologna.Servedfirst thenin theIsraeliarmyas interpreter
ofaerial
photographs. Workedas photogrammetrist at thePhotogrammetric Institutein Jerusalem.
In New York
he was assistantto Mario Modestiniand laterto WilliamSuhr.In 1965beganresearchon adhesivesfor
theconsolidation supportedby grantsfromtheSamuelH. KressFoundation.Afterhaving
of paintings
developeda newadhesive, Beva 371,he turnedto searchforothermaterialsforuseinconservation.
In 1972
receiveda grantfromtheS. H. KressFoundationto searchfora surface forpaintings
coating(varnish) on
absorbentmaterials. In 1973awardeda grantby theNationalEndowment fortheArtsto searchfora
non-aqueous, non-stainingadhesiveforpaper.Heads hisownstudiosince1966.
address:BergerArtConservation,
Author's Inc.,1014MadisonAvenue,
New York,N. Y. 10021,U.S.A.
du nouveladh6sifde soudageau chaud,Beva 371,estd6montr6e

Abstrait-L'utilisation pas
Apas danslerentoilaged'unepeintureial'huiled'unartisteam6ricainRembrandt Peale,laquelle
6taitd6chir6e.Les nouveauxmoyenset les nouvellesm6thodes qui suivent, se rapportant au
d6veloppement de Beva,sontexpliqu6sen detail:1. Revetementsparsoudageau chaudetleur
preparation.2. Raccordement de d6chirures;Remplissages etincrustations.3. D6acidification
4. Renforcement
de toiled61abr6e. de toiled61abr6eparimpregnation. 5. Choixde fibrede verre
dansleslamellesde soudageau chaud.6. Preparation leslamellesde soudageau chaud.
Kurzfassung-Der Gebraucheinesneuenthermoplastischen Klebstoffs'Beva 371'wirdSchritt

fiirSchrittbei der Doublierungeineszerrissenen
Olgemildesdes amerikanischen Kiinstler
Rembrandt Pealebeschrieben.
FolgendeneueVorgingeundMethoden, diemitderEntwicklung
von Beva verbunden sind,werdenausfiihrlich
beschrieben:1. ThermoplastischeBesatzeund
derenVorbehandlung. 2. Verbindungvon Rissen.3. Fuillungenund Einlegestiicke.
4. Ent-
saurungdes verfaulten Leinwands.4. Verstirkungdes verfaultenLeinwandsdurchImprig-
nierung.5. Die WahlvonGlasfaserin thermoplastischenBlattflfchen.6. Vorbehandlungvon
thermoplastischenBlattflichen.
Riassunto-Sidesrive,passo passo,l'applicazione del nuovoadesivotermosaldante Beva 371
nelfoderareuna pittura
ad olio dell'artistaamericanoRembrandt Peale,la qualeeralacerata.
nuovimezzie metodirelativiallo sviluppodi Beva vengonodescritti
I seguenti particolareg-
giatamente:1. Rivestimentitermosaldanti e la loropreparazione.2. Collegamento di strappi;
riempiture 3. Disacidificazione
ed inserimenti. di teladeperita.
4. Rinforzamento di teladeperita
medianteimpregnazione. 5. Sceltadi lana di vetroin laminatitermosaldanti.6. Preparazione
deilaminatitermosaldanti.
20, (1975),126-151
withBeva 371 151
Extracto--Se paso a paso,el usodelnuevoadhesivode cierrecaliente,

describe, Beva 371,enel
forrode una pinturaal 61leodel artistaamericanoRembrandt Peale,que estabarasgada.Se
describenen detallelos siguientes y m6todosnuevosrelacionadoscon la producci6n
artificios
de Beva: 1. Cubiertasde cierrecalientey su preparaci6n.2. Cubrirrasgaduras;rellenos'y
taraceas.3. De-acidificaci6nde tela decaida.4. Refuerzode tela decaidamedianteimpreg-
naciones.5. Elecci6nde fibravidrio en laminadosde cierrecaliente.6. La preparaci6nde
laminadosde cierrecaliente.
20 (1975),126-151

Heat-Seal Lining of A Torn Painting With Beva 371 PDF

Hochgeladen von

Dokumentinformationen

Originalbeschreibung:

Originaltitel

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Heat-Seal Lining of A Torn Painting With Beva 371 PDF

Hochgeladen von

Copyright:

Verfügbare Formate

Maney Publishing

Heat-Seal Lining of a Torn Painting with Beva 371

HEAT-SEAL LINING OF A TORN PAINTING

Abstract-Theuse of thenewheat-sealadhesive,Beva 371,is describedstepby stepin the

Withthehelp of grantsfromthe Samuel H. Kress Foundationa new adhesive,Beva 371,

tape) at room temperature. A firmbond can be achievedalmostinstantlyand with

A fragilepaintingcan be easilydamagedby handlingand testing.Therefore, a thorough,

Studies in Conservation,20 (1975), 126-151

FIG. 1 'The FirstSorrow',

30 x 9 cm, runningin thedirectionsof theweave of thecanvas. In addition,thepainting

Each step of thisexaminationhad to be takenin such a way as not to interfere

FIG.2 Photograph ofa detailofthepainting

powdery,physicalexaminationwould have to be postponeduntilafterconsolidationand

Studies in Conservation,20 (1975), 126-151

remainflat.Had it curledor contractedit would have been a warningof shrinkage,or

Beforeapplyingthefacingthetear had to be treatedand properlyaligned.Otherwisethe

4. CONSOLIDATION OF A TORN PAINTING

If a tornpaintingis laminatedto anothersupportwithoutpriorbridgingof the tear it

FIG. 3 Modelsmadeoffoamrubber;thetoppart(white)represents thetornpainting, theshaded

theteartendto riseoveritsplane. However,normalpropagationof stresscan be restored

essentialforthisapplicationthoughit seemsto argueagainstitsuse in conservation.How-

Epoxyformsa strongbond onlywithreasonablyfirmsurfaces.Therefore, thefirststepin

Studies in Conservation,20 (1975), 126-151

The heat-sealfacingservesa triplepurpose: 1. It holdsall tornpartsofthepaintingand the

tack. It was thereforeeasy to place thepaintingface down on top of the heat-sealfacing

FIG.6 A beadofepoxyis appliedto theedgeof

7. BRIDGING (JOINING) OF TEARS WITH EPOXY

Havingprotectedthepaintingfromthefrontfromall contactwithepoxy,itis nownecessary

FIG.7 For curingtheepoxy-filled teara warm

8. PREPARATION OF THE ORIGINAL CANVAS FOR LINING

Preparingthecanvas oftheoriginalpaintingforliningbeginsonlyafterthetearshave been

FIG.8 Evensmall,completely disconnectedparts

closed. Otherwise,treatingthecanvas mightresultin distortions whichin turncould make

*On OrrinH. Riley's[19] suggestionI havelookedintomeasuresforthedeacidification and preservation

FIG.9 'The Princess in one ofthe

the groundfromadverseeffectsof alkalineconditions.This was followedby treatment

*Inthecase ofdistortionscausedbycuppingitis necessaryto bendthecuppedpaintfilmbackto itsoriginal

Studies in Conservation,20 (1975), 126-151

FIG. 10 Removalof a heat-sealfacingin patch

shrinkage.The vapor treatmentwas thereforegivenbeforethe heavyfacingwas removed.

9. REMOVAL OF THE FACING

We prefernot to use a facingwhenmountinga consolidatedand straightened painting.

10. IMPREGNATION OF A PAINTING

ApplicationofBeva to theback ofa paintingis optional,thougha slightsizingwillimprove

Studies in Conservation,20 (1975), 126-151

byvacuumtreatment itcan ensurecompleteimpregnation. In thecase ofthePeale theback

11. THE LINING SUPPORT

We preferto mountcanvas paintingson supportsmade of stretchedfabrics.Since the

12. PREPARATION OF FIBERGLASS FABRIC FOR LINING WITH BEVA

We liketo mountpaintingson twolayersoffiberglass fabric,themiddlelayerbeingcoated

Studies in Conservation,20 (1975), 126-151

1 - A strainer,the size of the largesttable in the studio,is prepared(2 x 1-25m is our

2 Studies in Conservation,20 (1975), 126-151

bond reaches95% ofitsstrength on activationat 65-700C.It can be storedindefinitely,

The hot table is carefullycleaned and coveredwitha releasesheet,preferably Mylar,if

*Bevais dissolvedin mixtures of aromaticand aliphaticpetroleumsolventsof thesametypeas are used

Studies in Conservation,20 (1975), 126-151

It is good practiceto checkeverylayerforpossibleforeignmatterbeforeit is put on the

Studies in Conservation,20 (1975), 126-151

FIG. 13 A paintingby Miro withveryheavy

are less transparentthan Mylar and veryexpensive.Moreover,because of the strong

Studies in Conservation,20 (1975), 126-151