Before embarking on any structural work Washi is adhered to the face of the painting with
a reversible conservation adhesive.
Using small sections of paper enables better conformation to the impasto and easier handling.
This facing is done after the cleaning to ensure that none of the grime or old varnish
interacts with the adhesive or presents any complications during removal.
In this case as the lining adhesive was a water soluble rabbit skin glue we choose a
chemically soluble adhesive so that it won't be softened and compromised with exposure
to the moisture necessary to remove the RSG.
Were the lining adhesive only removable with chemicals then a water-based adhesive may
be used for the same reason.
After the facing is applied to the painting can be removed from the stretcher support.
Pulling the tacks or nails releases the canvas from the support so that the next procedures
can be executed.
As these are not original to the painting and the product of old conservation there's
no value in examining them or evaluating whether or not they can be salvaged.
With the paint layer protected and secured by the facing the old lining can be removed.
As the old RSG has largely failed the canvas can be manually removed inch by inch.
If the glue bond is very strong the use of moisture or chemicals may be necessary but
whenever possible it's desirable to limit the exposure of the painting to solvents.
During the removal of this lining it became evident that there was something on the verso
of the painting.
As more and more of the canvas was removed it became clearer that what was concealed
by the lining looked to be an inscription.
Because the RSG had failed and become very brittle the decision to forego moisture removal
in favor of mechanical means was settled upon.
Using dull scalpel blades to protect the canvas the old glue was scraped and chipped off the
canvas until only the area atop the inscription was left.
Though the mechanical removal of the old adhesive was very successful a different approach was
employed around the inscription.
Using laponite to avoid water saturation, which could distort the canvas or in worst-case
scenario cause the sizing to activate and paint layer to further detach, the RSG mixture
was swelled and softened.
Once soft it was removed manually with dull scalpels.
Finding a previously hidden inscription on the verso of a canvas is always an exciting
moment for a conservator.
This information can authenticate a painting or provide important historical context that
has been lost to time.
And while we knew this work was by Guy Wiggins, thus far it was understood to be an untitled
New York winter scene.
Yet with the revelation of this inscription, the use of digital imaging methods and the
help of some Internet crowdsourcing, we can officially title this
work "Lower Fifth Ave During The Day"
Now that the facing has served its purpose it must be removed to facilitate the next
set of treatments.
Using the appropriate solvent the adhesive can be reactivated and softened.
Once soft and pliable The Washi can be removed piece by piece and the residual adhesive cleaned
off the painting.
It's unfortunate that such beautiful paper must be sacrificed but without it the conservation
would be significantly more risky and some treatments all but impossible.
The exposure of the painting to moisture and heat while under constant and even pressure
to prevent distortion will allow the canvas to become pliable and be reset into a new,
non-distorted state.
Once the piece reaches the target temperature it's allowed to cool.
Once fully cool the painting will be removed from the hot table and placed between fresh
absorbent cotton blotter papers and under felt to protect the impasto and provide evenly
distributed pressure.
It will rest for several days until all of the residual moisture is gone and the painting
will be removed in a flat state.
This procedure may be repeated several times with varying degrees of heat, moisture and
pressure until the desired outcome is achieved.