Demystifying Drawings #3
HOW TO:Restore a Drawing
Short answer: don’t try it at home.
To the world at large, the field of drawing conservation may be something of an unknown quantity and seem hopelessly inaccessible. To remedy these misconceptions and debunk any myths surrounding restoration our editor spoke with Helen Loveday, conservator and restorer extraordinaire.
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Assess the drawing itself and whether you think conservation is necessary to prolong its lifespan and prevent future deterioration.
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Discuss the possibilities and limitations of your project with a conservator. Establish your expectations.
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Procedures can take anything from an hour to a number of months. Ask your conservator for a realistic timeline.
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Collect the restored work from your conservator and examine the restored areas.
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Frame, hang and enjoy, although be sure not to hang in direct sunlight or above a source of heat!
Where to start and how should one look to find a conservator?
Everyone should feel that they can approach a conservator for advice and guidance. An initial e-mail with a couple of photographs is always helpful, followed by a telephone call and studio visit if appropriate. The Institute of Conservation holds a register of accredited conservators www.conservationregister.com. Some conservators chose not to be included within this list, and therefore another means of finding help is via a reputable framer.
When assessing the condition of a drawing what should one look out for?
Whereas most physical damage, such as creasing, tears or losses, can generally be treated successfully and often with a high degree of invisibility, I would be wary of staining from mould and self-adhesive tapes, and of rust from staples and pins. I would also approach any work that has been adhered to a backing with caution, this may signal a fragility within the original paper. Occasionally the backing is of such poor quality that it weakens the work that it is meant to preserve.
Are there strict rules as to what is treatable and what is not?
I am hesitant to say that there are hard and fast rules. On occasion I must advise that nothing can done for a work, although typically, if a work will tolerate aqueous treatments, from gentle humidification to total immersion in water, a range of treatments is possible. Prints, watercolours and drawings fall into this category. However, if the paper is too fragile, or the media on its surface too friable (pastel, chalk and charcoal), the scope of conservation is more restricted. Pen and ink drawings fall between these two extremes, some respond fantastically well to treatment, whilst others may be too water-sensitive to be treated to anything more than gentle humidification and flattening.
Are certain materials and media more susceptible to damage than others?
Papers manufactured after the First World War are often of poor quality and susceptible to deterioration. Unfixed pastels, chalks and charcoals fly from the paper with the slightest encouragement. But even these can and should be helped if needed, and so I would hate to discourage anyone from adding to their collection through fear and concern over the fragility of a work that they love.
Are certain materials and media harder to restore than others?
Staining resulting from self-adhesive tapes, masking or Sellotape, is extremely hard to remove, as are oil and adhesive residue markings. Whereas paper that has discoloured as a result of light damage can often be lightened, pigments that have faded can never be returned to their original hue or intensity of colour.
Does the restoration process ever present any dangers of further damage?
The aim of all conservation treatments should be to arrest present and prevent future damage. However, some procedures do carry risk, and this should be explained at the outset by the conservator.
What is foxing and is it treatable?
Foxing is the process of deterioration that causes dark spots to emerge on old papers. In most instances foxing results from the corrosion of minute metallic particles within the sheet, typically iron or copper. The particles will often have entered the pulp either through the water or via the machinery used in its manufacture. Providing the media on the sheet of the paper will tolerate aqueous treatments, most foxing can be successfully reduced or removed entirely, either through the use of iron-solubilizing agents or gentle bleaching.
How can I best preserve a drawing to prevent damage and discolouration?
The greatest risks to a work of art on paper are heat, light, and moisture. Bathrooms should be avoided due to their fluctuating moisture content, as should any wall where there is a tendency for damp or water ingress. Paper and pigments also hate change, and therefore it is advisable to hang, or store works in rooms that are stable in terms of their ambient temperature and humidity.
Are things time sensitive?
I would suggest that most works of art can be patient in respect of potential conservation: the repair of tears and the treatment of foxing, for example. However, if an item is wet, recently stained, or with active mould growth, I would certainly want to examine and treat it as quickly as possible.
What has been your favourite restoration project to be involved in?
Relatively early in my career I was handed a small 9th century Coptic school book on parchment containing a child’s handwriting exercises. The first page was neatly inscribed with incredible care, clean hands and a keen eye. But the pupil’s concentration began to wane by page two, and they soon began to doodle in the margins (ducks and smiling faces). By page five, mud was helping to adhere the folios together. I will never forget this little volume, and what it taught me about the unchanging nature of humanity.
