discolouration

Art Conservation: David Milne Watercolours

David Milne watercolour painting - art conservation

David Milne is one of Canada's most iconic artists, and his sparse, evocative style is seen to great advantage in his watercolour paintings. But as with any art on paper, Milne's works are very susceptible to damage and deterioration. Book and Paper Conservation Services recently restored three David Milne watercolours for the Art Gallery of Windsor

Big Moose , David Milne, watercolour on paper, before conservation treatment. Staining and mat burn disfigure the image.

Big Moose, David Milne, watercolour on paper, before conservation treatment. Staining and mat burn disfigure the image.

The three works on paper are part of a bequest given to the Gallery by the Estate of Leslie Stibinger, and had not previously been displayed. Moisture and poor storage conditions before acquisition by the gallery had resulted in mould and mildew stains in the paper, as well as mat burn around the perimeter of all three artworks.

Weed Mines , David Milne, watercolour on paper; before conservation, dramatic staining in the upper right quadrant disfigures the work. 

Weed Mines, David Milne, watercolour on paper; before conservation, dramatic staining in the upper right quadrant disfigures the work. 

Last Snow of Winter , David Milne, watercolour on paper, before conservation treatment. Mat burn around the perimeter was the worst damage to this piece. 

Last Snow of Winter, David Milne, watercolour on paper, before conservation treatment. Mat burn around the perimeter was the worst damage to this piece. 

Verso of  Last Snow of Winter , showing tape and adhesive residue, before conservation treatment.

Verso of Last Snow of Winter, showing tape and adhesive residue, before conservation treatment.

The watercolours came to Book and Paper Conservation Services for conservation treatment in the summer of 2017, in advance of the exhibition 'Blazes Along the Trail': Exploring David Milne’s Imaginative Vision, running October 21, 2017 – January 28, 2018. The Gallery was eager to include these three works in the show, but wished to have them restored to their best condition before display. 

The stains in white areas of the paper disfigured the images and distracted from the viewers' appreciation of the composition. The mat burn around the perimeters hindered the works from being displayed to their outermost edges, and the remains of acidic tape and adhesive on the reverse of the works were causing long-term deterioration. These issues were addressed during the restoration of the works.

Testing treatment of mat burn on  Weed Mines , David Milne.

Testing treatment of mat burn on Weed Mines, David Milne.

Stain reduction on  Weed Mines , David Milne.

Stain reduction on Weed Mines, David Milne.

Removal of tape and adhesive residue from verso of artwork.

Removal of tape and adhesive residue from verso of artwork.

Cleaning and stain reduction in progress on  Weed Mines , David Milne, watercolour on paper.

Cleaning and stain reduction in progress on Weed Mines, David Milne, watercolour on paper.

After extensive testing of the media, paper and stains, a treatment protocol was proposed that included surface cleaning, local stain reduction using chemical bleach, and mechanical removal of the adhesive tape. Over the course of several weeks, the treatments were painstakingly executed to restore the works to Milne's original vision.

Weed Mines , David Milne, watercolour on paper; stained area before and after conservation.

Weed Mines, David Milne, watercolour on paper; stained area before and after conservation.

Big Moose , David Milne; staining before and after conservation treatment.

Big Moose, David Milne; staining before and after conservation treatment.

The three watercolours have been stabilized and preserved, and now that they are back in the care of the Art Gallery of Windsor, they will remain safe for future generations to enjoy. These works, along with a number of other paintings and prints by Milne, are on display in the exhibition 'Blazes Along the Trail': Exploring David Milne’s Imaginative Vision until January 28, 2018. 

Weed Mines , David Milne, watercolour on paper; after conservation treatment. The staining across upper area of image has been dramatically reduced, restoring the integrity of the artwork.

Weed Mines, David Milne, watercolour on paper; after conservation treatment. The staining across upper area of image has been dramatically reduced, restoring the integrity of the artwork.

Big Moose , David Milne, watercolour on paper; conservation treatment has reduced stains so they no longer detract from the image.

Big Moose, David Milne, watercolour on paper; conservation treatment has reduced stains so they no longer detract from the image.

If you would like to read more about Milne's art, the AGW's collection, and the conservation treatment of these watercolours, you can access a free e-publication produced by the Gallery to accompany the exhibition, available on their website. Book and Paper Conservation Services was pleased to contribute an essay on our work conserving the Milne watercolours.

Last Snow of Winter , David Milne, watercolour on paper; after conservation, mat burn has been eliminated so the image can be viewed out to the perimeter. 

Last Snow of Winter, David Milne, watercolour on paper; after conservation, mat burn has been eliminated so the image can be viewed out to the perimeter. 

We are happy to work with both public institutions and private collectors to preserve important cultural objects for the future. View our fine art conservation portfolio to see other projects completed at the studio, and contact us anytime to enquire about restoration of works on paper in your own collection.

Conservation Treatment of a Bird's Eye View of London, 1872 Lithograph Print

Bird's Eye View of London, Ontario, Canada,  1872, before conservation treatment. 

Bird's Eye View of London, Ontario, Canada, 1872, before conservation treatment. 

Book and Paper Conservation Services recently had the privilege of restoring this wonderful early Bird's Eye View map of London, Ontario, Canada. The detailed colour lithograph print, dated 1872, resides in the collection of Western University Archives, which holds extensive records of London's history.  

History

The map is an illustrated vision of the city from a bird's eye perspective, a common theme in the late 19th century. It was drawn by the artist E. S. Glover, and produced by Strobridge Lithographing Company, in Cincinnati, OH.  It would have been distributed in London and purchased by prominent local citizens at the time for display in homes and businesses.

Detail of the 1872 map showing streets of London, Ontario, and the Military Garrison in what is now Victoria Park.

Detail of the 1872 map showing streets of London, Ontario, and the Military Garrison in what is now Victoria Park.

The map illustrates significant buildings in the city as of 1872, such as the Covent Garden Market, Labatt Brewery, and the military garrison, situated on land which is now Victoria Park. The locations are numbered in a key in the bottom margin. The map is extremely interesting as a historic document because it depicts a number of streets and locations which no longer exist or have since been renamed. 

 

 

When it arrived at our studio, the map suffered from a variety of condition issues. After examination and consultation with University Archivist Robin Keirstead at Western's Archives and Research Collections Centre, an extensive treatment protocol was determined. During the course of conservation treatment, the print underwent almost every process in a paper conservator's repertoire; it was an extremely satisfying project for our studio. 

Condition

The map was produced by a lithographic printing process on machine-made wood pulp paper, a typical paper but prone to discolouration over time. Sometime in its life, it had been mounted to a black pulp board backer, a very acidic material which had further contributed to the overall yellowing and brittleness of the paper. It also exhibited pronounced discolouration in vertical bands across the image, as well as extensive tears and breaks in the paper and minor losses around the perimeter.

Tears and losses along the border of the print.

Tears and losses along the border of the print.

Creases and breaks distorting the surface.

Creases and breaks distorting the surface.

In short, it was in urgent need of conservation treatment to keep it from deteriorating further, and to restore its original detail and vibrancy.

Conservation included surface cleaning to remove dirt and grime. 

Conservation included surface cleaning to remove dirt and grime. 

conservation treatment

The conservation treatment to address these damages included several stages. First, the print was surface cleaned to remove loose dirt and grime, and then the acidic backing was painstakingly removed with a scalpel and metal spatula, working from the verso to avoid any accidental damage to the print. 

Next, the print was washed and light bleached to brighten the paper tone. The yellow discolouration products were removed from the paper in this process, returning the image closer to its original colouring and removing the distracting bands of stain from the print. It was also deacidified to halt further deterioration of the cellulose.  

The Bird's Eye View of London is washed and deacidified to remove discolouration.

The Bird's Eye View of London is washed and deacidified to remove discolouration.

Once washed, the lithograph was lined onto a new, stable backing of Japanese paper, to provide support and repair the breaks and losses. This backing will not cause discolouration the way the old board did, and will help the print remain stable while also being slightly flexible.

Wash water becomes progressively less yellow as the print is cleaned. Behind, the washed and lined lithograph is visible brighter. 

Wash water becomes progressively less yellow as the print is cleaned. Behind, the washed and lined lithograph is visible brighter. 

The Bird's Eye View of London, after washing and lining on a stable Japanese paper backing. 

The Bird's Eye View of London, after washing and lining on a stable Japanese paper backing. 

The final step in the conservation treatment was to inpaint losses to the printed image where cracks and breaks had disturbed the surface. Using watercolours and a delicate brush, the image was restored.

Inpainting to restore losses in the printed surface.

Inpainting to restore losses in the printed surface.

The restoration of this beautiful historic artifact was extremely successful, and the satisfying results can be seen below.  The paper tone has been brightened, allowing the image to be viewed without distraction; the damages have been repaired and print is supported and stabilized with a new backing. It has been returned to the Archives where it will be stored and preserved in ideal conditions, and can be accessed by future researchers and interested Londoners for years to come. 

Bird's Eye View of London, Ontario, Canada,  1872, before and after conservation treatment. 

Bird's Eye View of London, Ontario, Canada, 1872, before and after conservation treatment. 

Art conservation is an extremely satisfying occupation, and Book and Paper Conservation Services was very pleased to have contributed to the preservation of this important artifact. If you have historic or archival materials or antique prints that you are interested in having restored, don't hesitate to get in touch with our studio. There is no charge for a consultation, and we are always happy to discuss conservation options with you.