Conservation Treatment of a Canadian WWI Battalion Panorama Photograph

Lambton 149 Battalion, panorama photograph, before and after conservation treatment.

Lambton 149 Battalion, panorama photograph, before and after conservation treatment.

As we work our way through the centennial years of the First World War, archives and museums across the country are showcasing items from their collections that relate to Canada’s role in the conflict. This is a wonderful opportunity to show respect for our past and educate younger generations about the impact of war; as these collections are being dusted off for exhibition, it is also the perfect opportunity to provide artifacts with much-needed conservation attention.

WWI Panorama Photograph - tightly rolled

A WWI battalion panorama photograph recently came to Book and Paper Conservation Services for treatment from the Lambton Heritage Museum in Grand Bend, Ontario. Like many oversize and awkwardly shaped items, the panorama photograph had been stored rolled for much of its life. Age and exposure had caused the paper to become brittle, and the photograph was inclined to stay in its rolled configuration. Any attempt to unroll it caused stress to the materials, and several breaks had already occurred in the first several inches of the panorama when the brittle paper had been forced open.

Breaks in the brittle photograph caused by rolling.

Breaks in the brittle photograph caused by rolling.

This meant that the image could not be accessed at all; although cataloguing records noted that it was an image of the Lambton 149th Battalion taken in 1916 at Camp Borden, Ontario, the details of the soldiers and their surroundings could not be studied. 

According to Andrew Meyer, Corporate Cultural Officer of Lambton County Museums, the Lambton 149th battalion panorama photograph was donated to Lambton Heritage Museum by a community member, and it is the Museum’s only copy of the photograph. The photograph is important to Lambton County’s history, and conservation treatment was necessary for it to be accessed and appreciated by a wider audience.

After the panorama was brought to the Book and Paper Conservation Services studio, it was carefully examined and a treatment proposal was submitted to the museum. The photograph needed to be humidified to allow unrolling, and the breaks to be repaired. With the museum’s approval, treatment began at the studio.

Humidification allowed the panorama to be gently unrolled without causing further damage.

Humidification allowed the panorama to be gently unrolled without causing further damage.

Humidification in several stages allowed the panorama to be gently unrolled without causing further damage to the photograph. After flattening between blotters for several days, it was returned to an even, planar state with no inclination to roll back up.

Surface cleaning removes a significant amount of grime, brightening the image.

Surface cleaning removes a significant amount of grime, brightening the image.

Once the image could be fully accessed, the photograph was gently surface cleaned to remove loose dirt and grime. It may not have appeared grimy, but many years of dust and dirt had accumulated on the surface and cleaning yielded quite an improvement. The soiling was present over the entire surface, but was concentrated at the side of the panorama exposed at the open end of the roll. 

Ready to begin tear repairs on the verso of the photograph.

Ready to begin tear repairs on the verso of the photograph.

Next, repairs began on the breaks in the substrate. Japanese tissue and wheat starch paste, stable and reversible materials favoured by paper conservators for repairs, were used to mend the breaks and reattach the loose fragments. 

Consolidating the surface of the emulsion.

Consolidating the surface of the emulsion.

After each tear was repaired, the photograph's emulsion was consolidated to strengthen the area and restore continuity to the surface. Small losses were inpainted with watercolours and coated to restore the surface gloss.

One final humidification and flattening helped to ease the distortion caused by the tear repairs, and then treatment was complete. The process was very successful, achieving the goals of restoring access to the image and repairing the damage it had suffered over the years. 

The Lambton 149 Battalion Panorama, after conservation treatment.

The Lambton 149 Battalion Panorama, after conservation treatment.

The year 2017 marks the centennial of the Lambton 149th Battalion’s deployment from Halifax Harbour, and the Lambton Heritage Museum has planned several initiatives to celebrate this anniversary. The photograph is included in an exhibition currently on at the Judith and Norman Alix Art Gallery (JNAAG), entitled Lambton at War. The exhibition, focusing on Lambton county’s contribution to the war and the impact of the conflict at home, accompanies a traveling exhibition from the National War Museum, Witness: Fields of Battle Through Canadian Eyes, and runs until January 7, 2018.

JNAAG Exhibitions 2017

Book and Paper Conservation Services is very pleased to have been part of this project, and we encourage you to check out the exhibition at JNAAG and the Lambton Heritage Museum if you are in the area! 

If you have historic or archival items that you are interested in having conserved, get in touch with us today to learn about our services. Or, check out our gallery section to see more conservation treatments of archival materials like documents and photographs. 

Conservation of P. T. Barnum Circus Posters, featuring Jumbo the Elephant

The variety of paper-based objects that come through the Book and Paper Conservation Services studio never ceases to amaze us! This set of P. T. Barnum Circus posters circa 1883 is one of the most unique artifacts we've worked on.

P. T. Barnum Circus posters displayed in the Elgin County Museum, before conservation treatment.

P. T. Barnum Circus posters displayed in the Elgin County Museum, before conservation treatment.

Part of the collections of the Elgin County Museum in St. Thomas, Ontario, Canada, the posters advertise the P. T. Barnum Circus performance in St. Thomas on July 26, 1883; notably, the posters feature Jumbo the Elephant, the famed pachyderm who would later be killed after another appearance in St. Thomas in 1885.

Anyone familiar with St. Thomas and Elgin County, Ontario, knows Jumbo's importance to the community. The story of the elephant's tragic death in a train collision is one of the greatest legends of the town, and features prominently in the area's tourism. Jumbo has inspired a life-sized monument on Talbot Street, a brand of craft beer, and of course a permanent collection of objects in the Elgin County Museum.

P.T. Barnum Circus posters featuring Jumbo the Elephant, before conservation treatment.

P.T. Barnum Circus posters featuring Jumbo the Elephant, before conservation treatment.

This set of posters was donated by a member of the community after it was found inside the structure of a building undergoing renovation in 1983; the posters were on the underside of the boards, and so were hidden until revealed by construction. The remnants of the posters were still mounted on the boards, originally a fence or barn wall, on which they were first displayed to advertise the circus's visit. However, the fragments had suffered from the ravages of time, pests, mould and dampness since being reused in the floor of the building. 

Biological damage and surface mould on the delicate paper.

Biological damage and surface mould on the delicate paper.

The Museum felt that the historical integrity of the artifact was best served by keeping the poster fragments in place on the original boards, recalling the way the posters would have been viewed originally, while also acknowledging the unique circumstances of their preservation and discovery.  

We determined a treatment protocol that would clean and secure the delicate paper in place on the boards, as well as provide some protection from the handling and exposure that the piece will inevitably receive while on display. 

Surface cleaning the poster fragments.

Surface cleaning the poster fragments.

Reinforcing lifted edges.

Reinforcing lifted edges.

First, the paper and exposed board surfaces were gently surface cleaned to remove a thick layer of dirt, grime and biological material. The undersides of lifting paper fragments were also cleaned, where large deposits of debris had collected with time. Then, crumbling edges overhanging the edges of individual boards were reinforced with Japanese paper to provide strength and deter further damage. 

Protective coating applied to the delicate paper surface.

Protective coating applied to the delicate paper surface.

The coating also serves to re-saturate the printed colours and paper tone: the top half of AT has been coated, the bottom half has not.

The coating also serves to re-saturate the printed colours and paper tone: the top half of AT has been coated, the bottom half has not.

The lifting fragments of paper were secured back down onto the boards with a strong but reversible acid-free adhesive, and the surface of the delicate paper was coated with a cellulose ether solution to strengthen and protect the delicate paper. The coating also served to re-saturate the printed colours and paper tone, bringing back more of the original vibrancy of the image.

Detail of posters before conservation.

Detail of posters before conservation.

Detail of posters after conservation.

Detail of posters after conservation.

Detail of posters before conservation.

Detail of posters before conservation.

Detail of posters after conservation.

Detail of posters after conservation.

Detail of posters before conservation.

Detail of posters before conservation.

Detail of posters after conservation.

Detail of posters after conservation.

You can see in the after treatment details that the posters have been stabilized and rejuvenated on the boards, allowing better appreciation of their historical importance. They can now be safely handled and displayed without risking further damage to the fragile materials.

P.T. Barnum Circus Posters - Jumbo Elephant - after conservation

The posters have been returned to the Elgin County Museum where they will be back on display shortly. 

As a testament to the enduring interest in Jumbo's story, two upcoming television programs will investigate the legend of the famous elephant, perhaps revealing new information about his life and death. David Suzuki's CBC program The Nature of Things will air an episode dedicated to Jumbo sometime in 2018; David Attenborough has also visited St. Thomas to research an upcoming feature about Jumbo.

David Suzuki explores famous elephant's life

Visit the Elgin County Museum this fall to see the restored P. T. Barnum Circus posters featuring Jumbo the Elephant, and stay tuned for the upcoming television specials. The Museum plans to mount another exhibition on Jumbo's life and legacy in St. Thomas to coincide with the renewed interest next spring!

Do you have archival materials - posters, photographs, documents, etc - that you are interested in having restored? Contact Book and Paper Conservation Services today to discuss conservation treatment of your objects, or check out our portfolio section to see other projects we've worked on.

Art Conservation: Two Paintings by Emily Carr

Sea and Skyscape by Emily Carr - Before and After Conservaton

Emily Carr is one of Canada's most iconic artists, and her sweeping west coast landscapes are instantly recognizable. As an artist, she was concerned with representing the nature around her, and was inspired by the indigenous peoples of the Pacific Northwest coast. Unfortunately, like many artists of her time, the materials available to her were not always of the best quality and over time many of her works have deteriorated.

Sea and Skyscape, by Emily Carr        Oil on paper, 57.5 x 87.9 (HxW)Before Conservation Treatment

Sea and Skyscape, by Emily Carr        
Oil on paper, 57.5 x 87.9 (HxW)
Before Conservation Treatment

Shore Scene with Sunset, by Emily Carr Oil on paper, 39.5 x 58.3 (HxW) Before Conservation Treatment

Shore Scene with Sunset, by Emily Carr Oil on paper, 39.5 x 58.3 (HxW) 
Before Conservation Treatment

Book and Paper Conservation Services recently had the privilege of conserving two works on paper by Emily Carr, Sea and Skyscape and Shore Scene with Sunset. The artworks were donated to the Judith and Norman Alix Art Gallery (JNAAG) in Sarnia, Ontario, by benefactors Pamela B. and Ian W.E. Harris, and had never before been displayed to the public. 

The paintings were in relatively good condition, but presented a number of stability issues and had discoloured over time due to acidic materials and framing. 

Both pieces were painted by Carr in oil paint on low-grade wood-pulp paper, and had been mounted on acidic backer boards, and this had caused the papers to deteriorate and discolour severely over time. Carr's loose brushwork frequently left areas of the paper uncovered, and in these locations the paper tone shows through the paint and acts as a colour itself. Both where the paper was bare and where it showed through a thin layer of paint application, the discolouration had changed the appearance of the image dramatically from what the artist had intended. 

The conservation treatment had two goals: to restore the aesthetic integrity of the works by returning the paper tones to their original intensity, and to stabilize the materials, increasing their strength and longevity.


Sea and Skyscape by Emily Carr - Before and After Conservation Treatment

SEA AND SKYSCAPE
Oil on paper
57.5 x 87.9 (HxW)

Sea and Skyscape was executed in oil paint on thin paper, and mounted on a plywood backer board. The acid in the paper and plywood had caused the artwork to darken significantly, with the exposed, bare areas of paper appearing almost crispy and burnt. There were chips and losses to the paper around the perimeter, and accretions of white paint had transferred from the original hand-painted wooden frame. In some areas, the paper had lifted from the board, and expansion and contraction had caused cracks to appear, which showed through the paint layer.

Oil on paper mounted on plywood.

Oil on paper mounted on plywood.

Tears and losses to the edge of the paper.

Tears and losses to the edge of the paper.

The artwork was deemed too fragile to remove from the wooden support, but the paper required cleaning to brighten the tone and appearance of the image, and to remove acidic components in the materials. A capillary action cleaning technique was devised to "wash" the paper directly from the recto, withdrawing discolouration and leaving the paper brighter and more stable. 

A cleaning spot test shows improvement in paper tone.

A cleaning spot test shows improvement in paper tone.

Dramatic improvement in the image is apparent after several rounds of cleaning.

Dramatic improvement in the image is apparent after several rounds of cleaning.

The cleaning treatment was dramatically successful in brightening the paper, returning the areas of bare paper to a more natural "manilla" brown colour instead of dark brown, and allowing the blues in the sky to brighten nearly back to their original tones.

Sea and Skyscape by Emily Carr - detail, before and after cleaning.

Sea and Skyscape by Emily Carr - detail, before and after cleaning.

Sea and Skyscape by Emily Carr - detail, before and after cleaning.

Sea and Skyscape by Emily Carr - detail, before and after cleaning.

Sea and Skyscape by Emily Carr - detail, before and after cleaning.

Sea and Skyscape by Emily Carr - detail, before and after cleaning.

The paint accretions around the edges were removed and losses were filled and toned to match the original. Cracks in the paper were sealed and inpainted as well. The painted wood frame, likely contemporary with the piece and possibly chosen by Carr herself, was cleaned to remove years of accumulated surface dirt.

Cracks in the paper were consolidated and inpainted to disguise loss.

Cracks in the paper were consolidated and inpainted to disguise loss.

Losses at the edge were filled and inpainted.

Losses at the edge were filled and inpainted.

The original wooden frame was cleaned to remove accumulated dirt.

The original wooden frame was cleaned to remove accumulated dirt.


Shore Scene with Sunset by Emily Carr - Before and After Conservation Treatment

SHORE SCENE WITH SUNSET
Oil on paper
39.5 x 58.3 (HxW)

Shore Scene with Sunset was painted in oil on an acidic brown wood-pulp paper, which had yellowed with time. It was mounted loosely on a cardboard backer and had rippled severely with changes in humidity. Small tears and losses were also present around the perimeter.

Oil on paper, mounted on cardboard backer. Signature stamp is visible in lower left corner.

Oil on paper, mounted on cardboard backer. Signature stamp is visible in lower left corner.

Raking light shows the severely rippled paper.

Raking light shows the severely rippled paper.

The first step in the conservation treatment was to remove the acidic backer board, freeing the piece from this damaging material and allowing access for washing and deacidification. The backer was removed mechanically, as was a thin loose-weave layer of fabric behind the artwork. Removal of these revealed a second stamped and inscribed signature mark on the verso.

Removing the cardboard backer.

Removing the cardboard backer.

The signature stamp revealed on verso.

The signature stamp revealed on verso.

After careful examination and testing to rule out any solubility issues, the painting was washed in distilled water to deacidify the paper and remove the yellow discolouration products. Significant amounts of yellow were removed with each change of the wash water, until the final rinse remained clear. 

Shore Scene with Sunset in the wash.

Shore Scene with Sunset in the wash.

Successive amounts of yellow discouration removed with each change of wash water.

Successive amounts of yellow discouration removed with each change of wash water.

While the paper did not brighten overall, the yellow tone of the acidic products was eliminated, and the strength and stability of the materials were improved. After washing, the painting was flattened to remove the rippling, and the tears and losses were repaired with Japanese tissue. The original wooden frame was also cleaned to remove years of accumulated grime.

Repairing the tears and losses with Japanese tissue.

Repairing the tears and losses with Japanese tissue.

Cleaning the frame to remove surface dirt.

Cleaning the frame to remove surface dirt.

Shore Scene with Sunset, by Emily Carr - detail, before and after conservation treatment. The yellow tinge is removed and the brown paper is back to its original tone.

Shore Scene with Sunset, by Emily Carr detail, before and after conservation treatment. The yellow tinge is removed and the brown paper is back to its original tone.


The dramatic improvement in both of these artworks was very satisfying, and Book and Paper Conservation Services is pleased to know that we have contributed to extending the lifetime of these important works of Canadian art. Emily Carr is a perennial favourite among art collectors and enthusiasts; art conservators are privileged to spend time in close proximity to masterpieces such as these, and we take great pride and joy in our work. 

Sea and Skyscape and Shore Scene with Sunset by Emily Carr have been returned to the Judith and Norman Alix Art Gallery (JNAAG) and are currently featured in the exhibition Heavy Hitters: The Group of 7 & Contemporariesrunning from July 7 - August 6, 2017 in Sarnia, Ontario, Canada. The exhibition puts the spotlight on the gallery as a caretaker of the art pieces that are received from donors, and JNAAG has put together a display highlighting the conservation undertaken on these artworks.

Jennifer Robertson, art conservator at Book and Paper Conservation Services, will be giving a presentation at the gallery describing her work and the process of restoring the Emily Carr paintings, on Thursday, July 20, 2017, at 7 pm. If you are interested in this project, we invite you to attend!

Art Restoration: Bringing Emily Carr Back to Life

Visit our portfolio section to see more of our fine art conservation projects, or get in touch to discuss restoration of your own collection.