WAP/17-19 1st Meeting

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Works of Art Advisory Panel Wednesday 19 July 2017 at 4.15pm, in Committee Room G

Agenda

1. MATTERS ARISING FROM THE MINUTES OF THE LAST MEETING Minutes of meeting on 29 March 2017

2. CHRISTMAS CARDS – SELECTION OF IMAGES The Chair will introduce the shortlisted images. Panel members will be asked to submit their ballot papers at the end of the item.

Shortlisted images to follow

3. DEVELOPMENT OF POLICIES AND ANNUAL PLAN The Chair will speak to the paper.

WAP/17-19/01

4. ACQUISITIONS AND LOANS Acquisition: watercolour study by Sir Frank Brangwyn for unrealised House of Lords First World War memorial The Curator will speak to the paper.

WAP/17-19/02

Loan Withdrawal: De Morgan Foundation ceramics from the Archbishops’ Room The Curator will give an oral update.

5. LOCATIONS OF WORKS OF ART New Dawn prints by Mary Branson The Deputy Curator will give an oral update.

Design for Stained Glass Panel by Penelope Beaton The Deputy Curator will give an oral update.

6. ANY OTHER BUSINESS

7. CONSERVATION UPDATE ON MACLISE’S WALLPAINTINGS IN THE ROYAL GALLERY The Collections Care Manager will give an oral update. The Panel are then invited to proceed to the Royal Gallery for a further update in situ.

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Recirculated for information: Conservation Update on Maclise’s Wallpaintings in the

Royal Gallery

WAP/16-17/09

Next meetings: [PROVISIONAL] Wednesday 6 September at 4.15pm in Room 1-02, Millbank House Wednesday 1 November at 4.15pm in Committee Room G Wednesday 6 December at 4.15pm in Committee Room G

Edward McCarthy

Secretary to the Works of Art Advisory Panel mccarthye@parliament.uk

020 7219 7517

WAP/17-19/01 1st Meeting

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Works of Art Advisory Panel

Development of policies and annual plan

Paper by the Secretary

Purpose

1. This paper outlines the steps proposed to adopt a new acquisitions policy and create an annual plan.

Background

2. In establishing the Panel, the Lord Speaker wrote:

I have suggested to the Chair that the Panel agree with the Lord Speaker an annual plan against which decisions on acquisitions are assessed during the year. Otherwise I do not intend to interfere in the day-to-day work of the Panel.

I also hope that the new Panel will adopt a strategic direction which can be reflected in the annual plan and perhaps the Terms of Reference once they are reviewed. In particular I suggest that the Advisory Panel consider:

Arrangements relating to the charitable trust to raise funding for Works of Art acquisition.

The overall acquisition policy. Works of Art to be hung in the refurbished 5 Great College Street and how this might

be sourced from the existing collection. Long term plans for how the Restoration and Renewal Programme will affect works of

art in the Palace of Westminster; what art would be displayed in any decant buildings and whether there is any opportunity to display artwork more widely to the public whilst the works are ongoing.

How we can make best use of the Works of Art collection to further understanding of the work and role of the House of Lords.

3. The Curator spoke to the acquisition policy agreed by the former Works of Art Committee (WAP/16-17/02) at the March 2017 meeting.

A new acquisition policy

4. In order that Panel members may gain a deeper understanding of the existing collection, it is hoped that a September/October meeting could be in Millbank House so that the range of artwork displayed in the meeting rooms can be viewed. The Curator would then give a presentation including examples from the rest of the collection.

5. It is hoped that knowledge of the previous acquisition policy and the existing collection will allow Panel members to adopt a new acquisition policy at the following meeting.

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6. The Hinchingbrooke List, of individuals whose portraits are recommended to be prioritised for acquisition, would be circulated for comment. It should be noted that the House of Commons Works of Art Committee has previously commissioned updates to this list, and the Panel may wish to consider doing the same.

7. The views of the House of Lords’ Diversity and Inclusion Manager could be sought.

An annual plan

8. The acquisition policy is of the greatest urgency, as it supports any business cases that the Panel may be asked to support. Once this is adopted, the Panel should agree an annual plan.

9. It is proposed that the plan include three strands:

Acquisition (which will already have been covered),

Conservation, and

Engagement and participation.

10. The Panel should aim to agree the annual plan no later than the February/March meeting in 2018.

Other matters

11. Issues such as the artwork for 5 Great College Street, and the impact of Restoration and Renewal, will be considered as they arise.

Action

12. The Panel are invited to agree this programme.

Edward McCarthy July 2017

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Case for purchase

13. The acquisition falls within the House of Lords Works of Art Panel’s acquisition policy:

Parliamentary History

The history of the buildings of the Palace of Westminster, with particular emphasis on those occupied by the House of Lords

14. It would enable us to tell the story of Brangwyn’s Royal Gallery schemes as part of the wider First World War centenary commemorations programme. This could include:

An exhibition of works relating to the scheme in the Royal Gallery

An online exhibition on the Art in Parliament webpages

A public lecture by a Brangwyn scholar

15. Long-term, the work could hang with the related works in the existing display in the Principal Floor West Front Corridor.

16.

Costs

Dr James Ford 5 May 2017

Update following auction This work of art was successfully acquired for a hammer price of £4,600, and a total cost of £6,026. The Panel is invited to take note of this acquisition.

Edward McCarthy 19 July 2017

WAP/16-17/09 2nd Meeting

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Works of Art Advisory Panel

Conservation Update on Maclise’s Wallpaintings in the Royal Gallery

Paper by the Curator of Works of Art

Purpose

1. This paper provides an update on progress during the current financial year with the ongoing four year conservation project to improve the presentation of the Royal Gallery wallpaintings of ‘The Battle of Waterloo’ and ‘The Battle of Trafalgar’.

2. The paper also provides a briefing on the risks posed to ‘The Battle of Trafalgar’ wallpainting during the stone restoration programme in the Royal Gallery and the measures taken by the Curator’s Office, in collaboration with Strategic Estates, to mitigate the risk of damage from dust and vibration during the cutting out and replacing of stone.

Background

3. In July 2015 the Works of Art Committee agreed to the proposal by the Curator’s Office to embark on a four year conservation programme, commencing in 2016/17, to improve the presentation of the Royal Gallery wallpaintings of ‘The Battle of Waterloo’ and ‘The Battle of Trafalgar’.

4. In April 2016 the Committee was given a detailed briefing on the key elements of the conservation project and agreed the strands of work planned both for 2016/17 and for the following three years.

5. The project followed on from a successful collaborative research project undertaken in 2012/13 by two MA students from Cologne University of Applied Sciences under the supervision of their tutor, Professor Adrian Heritage. Their project was based on two complementary areas of research. The first examined the improvement in appearance which could be brought about by cleaning and conservation. The second examined how the presentation of the paintings could be improved through lighting. The research and tests indicated the potential for considerable improvement to the presentation of both ‘Trafalgar’ and ‘Waterloo’ by undertaking a programme of conservation and by addressing the colour of lighting used to illuminate the paintings in the Royal Gallery. The research also revealed that a significant proportion of Maclise’s original painting had survived on both paintings.

Progress Report on Key Elements of Conservation Programme 2016/17

6. The key component elements planned for the current financial year were as follows:

Undertaking a photogrammetric survey of both paintings

Researching into the extent of previous retouching and overpaint

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Running a pilot conservation project of cleaning tests on the paint surface to determine the most appropriate and effective approach to removing layers of chemical deposits and decades of embedded dirt

7. Good progress was made with both the photogrammetric survey and the research into retouching and overpaint. However the pilot cleaning tests were postponed due to the Royal Gallery stone repair project, when the painting of ‘Trafalgar’ was hidden behind a wall of scaffold and protected in situ (see separate section below on mitigation of risk of damage to the painting) and the pilot project will be re-scheduled for 2017/18 when the stone repair project has been completed.

8. Progress made is as follows:

Photogrammetric Survey (April and June 2016)

9. The survey was undertaken by Samuel Whittaker (wall paintings conservator, Courtauld Institute) using specialist photographic equipment. He used ultraviolet (UV) photography, which highlighted past retouchings and overpainting of the wall paintings; and infrared (IR) photography, which revealed technical information beneath the paint surface, such as the artist’s pencil underdrawing on the plaster. The high resolution images generated by this strand of work will provide comprehensive documentation of the wall paintings prior to the conservation treatment.

In addition a 3D low resolution photogrammetric survey of both wall paintings and the interior of the Royal Gallery will be undertaken, which will enable modelling of lighting for the paintings.

Brief summary of findings

The UV images taken, combined with colorimetry measurements, enabled preliminary identification of the work of different restorers, and the different phases of treatment for both wall paintings. This survey provides a baseline for the MA research described in point 9 below.

This photogrammetric survey also provided a highly detailed record of the current condition of ‘Trafalgar’ and ‘Waterloo’, which is required in advance of the conservation cleaning programme beginning. The detailed condition survey was completed in advance of the start of the stone restoration programme by Strategic Estates, allowing for any change in condition over the course of the work to be identified easily.

MA Research and Testing (April 2016–March 2018)

10. This project is being undertaken by Rebecca Tehrani from Cologne University of Applied Sciences and follows on from the earlier research project undertaken by the University in 2012-13.

The title of her research thesis is “An investigation of previous interventions to Daniel Maclise’s waterglass wall paintings of ‘Nelson’ and ‘Waterloo’… implications for potential cleaning, reintegration and relighting” and will aim to identify and document later retouching and interventions to the wall paintings. This will assist the conservators in their approach to cleaning and presentation of the wall paintings.

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Brief summary of findings

Significant progress has been made and the research has identified a number of key pieces of information which will help to inform the forthcoming conservation programme and which will be investigated further over the months ahead. The information gathered is the result of archival research, on-site examination, analysis of UV images, limited paint and plaster sampling, and colorimetry measurements. The Roberson Archive at the Hamilton Kerr Institute, Cambridge was particularly informative on artists’ supplies and pigments used by Maclise.

The key pieces of information are as follows:

The wall paintings were painted on 2 different plaster supports: ‘Waterloo’ on lime plaster, and ‘Trafalgar’ on a Portland cement plaster

Spirit fresco was used in a number of ways for later restorations: binding media for retouching, consolidating medium, protective varnish

Grey areas on ‘Trafalgar’ are the result of a dusty wax coating. The original paint layer survives underneath

The thick black contouring on ‘Trafalgar’ is not part of the final editing by Maclise

There are 2 types of painted black shading used for retouching , which attract different levels of dust

Coloured glazing was used to retouch both wall paintings to enhance skin colour, clothes and objects

Some of the retouching on both wall paintings does not match the original colours used by Maclise

Maclise intentionally left some areas of plaster unpainted on ‘Waterloo’. Some of these areas have been overpainted with white pigment as part of later restorations.

Conservation Cleaning and Treatment of Wall Paintings (Autumn 2016–2019/20)

11. Postponed to 2017/18.

We plan that the pilot phase of the contract for conservation cleaning and treatment of ‘Trafalgar’ and ‘Waterloo’ will begin in July 2017, after procurement is completed in April / May.

As previously we will seek permission from the House authorities for conservation treatment to be carried during sitting times where this is required.

Mitigation of risk of damage to ‘Battle of Trafalgar’ during Royal Gallery Stone Repair Project

12. In autumn 2016 a large scaffold was erected along the west wall inside the Royal Gallery as part of the stone repair project in the adjacent courtyard run by Strategic Estates. The Curator’s Office arranged for the royal portraits affected by the scaffold to be removed off site for the duration of the works, and the fixed works of art – four gilded stone statues of

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warrior kings and queens, and the wall painting of ‘The Battle of Trafalgar’ – were protected in situ.

13. The stone repair project posed a particular risk to the ‘Trafalgar’ painting which is painted directly onto the surface of the plaster. The support structure is lath and plaster, with a gap behind between the plaster and the brick wall. The plaster has a large number of historic cracks, and the condition of the plaster makes it particularly vulnerable to damage caused by vibration. The effect of vibration is cumulative.

14. In order to mitigate the risk of damage caused by vibration from the masons cutting out stonework in close proximity to the painting, the Collections Care Manager in the Curator’s Office arranged for the daily vibrations to be monitored, using digital data loggers, with specialist conservators on site to download and interpret the readings. By using the readings to ascertain the level of risk, it was possible to determine which stone cutting tools and processes should be used by the stone masons, in order to keep the level of vibration at acceptable levels. As the stone removal work lasted for many months, the monitoring exercise proved invaluable in providing information with allowed continual assessment of the risk mitigation measures to be discussed by the Curator’s Office and Strategic Estates. It also providing evidence-based assurance to the Curator’s Office that the risk of damage was being managed effectively. To date there has been no evidence of damage to the surface of the plaster or painted surface of the wall painting caused by vibration.

15. Monitoring will continue until completion of internal and external stone restoration in the Royal Gallery.

16. In order to protect ‘Trafalgar’ from stone dust deposited during the stone repair project, the painting was protected in situ behind a bespoke wooden frame. The front of the wooden frame was fitted with overlapping strips of transparent Melinex™ which hung in front of the painting and through which the condition of the paint surface was monitored regularly by conservators. In addition dust slide loggers were also set in place to monitor dust accumulation.

17. The wooden frame and Melinex™ will be disassembled and removed as part of the take down of the scaffold in the Royal Gallery in late March.

Sharing information about the Conservation Programme for ‘Trafalgar’ and ‘Waterloo’

18. Regular updates on progress will be given to the Works of Art Panel. These will include presentations by Professor Adrian Heritage and Rebecca Tehrani from Cologne University of Applied Science, as well as by the Collections Care Manager and other experts and conservation specialists. These are provisionally scheduled for July and October 2017.

19. When on site research and conservation work is being carried out in the Royal Gallery the Curator’s Office will continue to provide information about the aims and findings of the conservation programme. The conservators will be happy to explain their work on an informal basis as required.

20. Information posters were redesigned by Dr James Ford and Rebecca Tehrani for the built scaffold hoarding in January 2017 and included research progress updates on the wall paintings. An intranet feature ‘Collections Care in Focus’ was published on 3 February 2017 on the Royal Gallery wall paintings

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21. Over the course of the project the Curator’s Office will plan a series of talks about aspects of the conservation programme. Regular updates will also be given in Red Benches.

22. Over the past 18 months information on the conservation project has been shared with specialist external audiences. These have included a presentation at the Royal Academy (November 2015), 2 papers for the ICON conference ‘Turn and Face the Change: conservation in the 21st century’ (June 2016), a seminar for Strategic Estates and stakeholders, Portcullis House (June 2016); and a paper will be given as part of the ICON Historic interiors conference ‘Gothic Revival – the past reimagined’ (April 2017).

Action

23. The Panel is invited to take note of this update.

Malcolm Hay March 2017