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Winterthur/University of Delaware Program in Art Conservation

Conservation Treatment Report

ACP 1552 Verso Overall

Before Treatment ACP 1552 Recto Overall

Before Treatment ACP 1552 Recto Overall

After Treatment Object #: ACP 1552 (Germantown number: GHS 1051, 1984.59) Winterthur SRAL analysis number AL5844 Artist/Author: Unknown1 Title/ Subject: Dummy Board of Turkish soldier Materials: wood (spruce for original substrate), ferrous nails and screws, paper, paint (oil-bound), residual coating (pine resin, drying oil, mineral wax), beeswax, BEVA 371,

1 Before treatment this object was attributed to Major John André because of proposed connection to the Meschianza (1778) for which André created all decorations. The diary of Sally Wister from 1777-1778 (published posthumously: Myers 1902) clearly indicates the origin of the British grenadier dummy board, which has the same provenance as ACP 1552. The grenadier and another dummy board (assumed to be the Turk by Myers) were taken from Sally’s Uncle, Colonel Samuel Miles in 1777. Miles served the American army during the Revolution and so it is extremely unlikely that he would have commissioned a British officer to paint a dummy board. Furthermore, these dummy boards were in existence before planning for the Meschianza even began (Watson 1823). It is unknown how Miles acquired these objects. If they were created for a theatrical performance (See accompanying essays in associated documentation) it is possible that André could have painted them as he was also involved in set design for Howe’s Strolling Players, a British army theater group.

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pigmented wax, accession number applied with unknown paint and coating, unidentified wood stain on verso Dimensions: Overall height: 70 1/8in (178.0cm) Overall width: 23 1/8in (58.8cm) Depth: ½ in (1.3cm) Depth including battens: 1 ¼ in (3.2cm) Inscriptions and Labels: The Germantown Historical Society accession number (“1984.59”) is painted in red on the verso on the proper right of the head just above the batten and on the lower proper left just above the bottom batten. “GHS1051” (presumably an older cataloging system) is painted in white just below this on the chamfered edge of the bottom batten. An “identification tag” (2 ¼ in X 3 ½ in) on the chest of Turk was documented as being removed during previous treatment in 1992, but no information about the specific inscription was recorded (Erisoty 1992). There are two remnants of paper adhered to the verso: one on the proper right shoulder and one on the proper right thumb. Owner: Germantown Historical Society; Laura Keim, Curator of Collections. Provenance: Donated to Germantown Historical Society by the Wister family in 1984 Previous Treatment: 1992 by Private Conservator Steven Erisoty.2 Treatment included consolidation of flaking paint with BEVA-371, reduction of surface grime with “mild solvents” (Erisoty 1992) (est. locally with saliva), removal of identification tag and tacks, filling of tack holes with pigmented microcrystalline wax, minimal in-painting with PVA AYAA/AYAC3

Treated by: Emily Wroczynski, Graduate Fellow in Art Conservation

2 The object file for ACP1552 from Germantown Historical Society includes a treatment report from Steven Erisoty from 1992. Erisoty also made a treatment proposal for this work again in 2013, but the estimate was high and the Society declined. 3 During a recent personal communication with Erisoty (2014), he did not recall cleaning the dummy board in 1992 and emphasized that the treatment was minimal.

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Treatment Supervisors: Dr. Joyce Hill Stoner, Director, University of Delaware Preservation Studies Doctoral Program, and Richard Wolbers, Associate Professor, Winterthur/ University of Delaware Program in Art Conservation (WUDPAC) Technical Study Supervisor: Catherine Matsen, Associate Scientist and Affiliated Assistant Professor WUDPAC. Consulted: Laura Keim, Interim Director and Curator, Historic Germantown; Kristin deGhetaldi, Doctoral Candidate in Preservation Studies, University of Delaware; Dr. Susan Buck, Consultant for Analysis of Painted Surfaces; Peggy Olley, Conservator, Philadelphia Museum of Art; Dr. Melanie Gifford, Research Conservator for Painting Technology, National Gallery of Art; Mary McGinn, Paintings Conservator, Winterthur Museum; Brian Baade, Assistant Professor, University of Delaware; Alan Miller, Assistant Paintings Conservator, Metropolitan Museum of Art; Dr. Kate Dooley, Imaging Science Postdoctoral Research Fellow, National Gallery of Art and The George Washington University; Damon Conover, Electrical and Computer Engineering Doctoral Candidate, The George Washington University; David Worrall, Professor of English Literature, Nottingham Trent University; Sarah J. Weatherwax, Curator of Prints and Photographs, The Library Company of Philadelphia; David Haugaard, Director of Research Services, Historical Society of Pennsylvania; Stephanie Auffret, PhD, Associate Furniture Conservator and Assistant Professor Winterthur Museum and WUDPAC; Neal Hurst, Lois F. McNeil Fellow, Winterthur Program in American Material Culture, Winterthur Museum/ University of Delaware (WPAMC), Katie McKinney (WPAMC), Mark Anderson, Senior Furniture Conservator, Winterthur Museum; Dr. Harry Alden, Wood Identification Specialist, Alden Identification Service; Kristen Froehlich, Director of the Collection, Philadelphia History Museum—Atwater Kent; Greg Landrey, Director Library, Collections Management, and Academic Programs, Winterthur Museum; Amy Delaney, Associate Curator, Exhibitions, Winterthur Museum; Jill Whitten and Rob Proctor, Paintings Conservators and Proprietors of Whitten and Proctor Fine Art Conservation; Terry Lignelli, Paintings Conservator at the Philadelphia Museum of Art Report Date: 20 May 2015

Associated Documentation: ACP 1552 was also the subject of an in-depth technical study as well as a collaborative provenance research project with Katie McKinney. The results of these investigations have led to numerous conference presentations and publications. An environmental survey of the GHS exhibition space where ACP 1552 will be on display was also conducted in concert with conservation treatment. Following is a summary of the essays, reports, and physical samples pertaining to ACP 1552 that

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will be housed with this conservation file. PLEASE KEEP ALL DOCUMENTATION AND SAMPLES TOGETHER. Samples have great potential to be reused in the future with newer instrumentation. Photographs and papers are included on a flash drive labeled “dummy board ACP1552.” Title of Document/ Sample Brief Description4 ACP1552 wood sample Sample cast in polyester resin (was

not used for the wood ID by Harry Alden)

Grenadier HSP.1931.5 Cross section from proper right at join in blue area. Not used for further analysis; appears to only contain retouching

ACP1552.X.1 Cross section from belt near proper right join. Sample not polished.

ACP1552.X.1 Cross section form robe near proper right join

ACP1552.X.3 Cross section from middle of belt; Not polished; sample seems too small

ACP1552.X.6 Cross section from middle of belt; sample not polished

ACP1552.X.7 Cross section from dress near middle of belt at proper right join

ACP1552.X.8 Cross section from green/blue area at top of turban; sample analyzed with SEM (coated in carbon black paint in isopropanol)

ACP1552.X.9 Cross section from green/blue area at proper left side of torso; sample analyzed with SEM (coated in carbon black paint in isopropanol)

ACP1552.X.10 Cross section from proper right side of turban in reconstructed red area

ACP1552.X.11 Cross section from proper left side of turban in reconstructed white area

ACP1552.X.12 Cross section from proper left shoulder

ACP1552.X.13 Cross section from cleaning test in hand

ACP1552.X.14 Cross section from cleaning test in hand

4 Exact locations with detailed images are in the Appendix of the Examination and Proposal for Examination from 2014 and in the diagram in the Appendix of the technical study Silent No More: The Material Analysis of an American Dummy Board.

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S.6 Adhesive Scraping sample #6 from adhesive-like material in a join; between two glass slides un-mounted

DPG.3b Dispersed pigment sample from green/blue area #3; between two glass slides un-mounted

S.5 coating addition Scraping sample #5 from surface of proper right side of turban; between two glass slides un-mounted

DPR.5b Dispersed pigment sample from red area #5; between two glass slides un-mounted

Grey overpaint ACP1552 Dispersed sample from area of grey overpaint in proper lower left corner; between slides un-mounted

ACP1552 DP.G.2 Dispersed pigment sample from green/blue area #2; mounted with Cargille Meltmount

ACP1552.DP.R.4 Dispersed pigment sample from red area in turban (proper right); mounted with Cargille Meltmount

ACP1552.DP.R.3 Dispersed pigment sample from red area in lips; mounted with Cargille Meltmount

ACP1552.DP.R.2 Dispersed pigment sample from light red area in lips; mounted with Cargille Meltmount

ACP1552.DP.R.1 Dispersed pigment sample from red highlight in belt; mounted with Cargille Meltmount

ACP1552.DP.G.1 Dispersed pigment sample from green/blue area in turban; mounted with Cargille Meltmoutn

WY.2 Dispersed pigment sample from off-white area in pants; mounted with Cargille Meltmount

WY.1 Dispersed pigment sample from off-white area in pants; mounted with Cargille Meltmount

ACP1552.DP.W.2 Dispersed pigment sample from white area in turban; mounted with Cargille Meltmount

ACP1552.DP.W.1 Dispersed pigment sample from white area in eye; mounted with Cargille Meltmount

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A large printout of ACP1552 during cleaning Provided for display/didactic purposes

EmergingScholarsWroczynskiMcKinney.pdf Paper co-presented with Katie

McKinney at Emerging Scholars in Material Culture Symposium March 2015 at the Winterthur Museum

2015ANAGPIC_Wroczynski_paper_Silent no more.pdf

Paper presented at ANAGPIC student conference March 2015 at the Winterthur Museum

ACP1552_Conservation_eblast.pdf E-blast circulation through University of Delaware Department in Art Conservation

Folk Art_Silent Companions by Emily Wroczynski_Articles_InCollect.pdf

Short article for the Antiques & Fine Art Winterthur Primer section Winter 2015

Wroczynski_tech study 2015_ACP1552_GHScopy.pdf***

Unpublished technical study for ARTC673 WUDPAC Second-year Instrumental Analysis course

GHS Environmental Monitoring Summary 2015.pdf

Environmental Analysis preliminary report on GHS exhibition space

GHS Environmental Monitoring Final Report 2015.pdf

Summary of complete data set of environmental analysis of GHS exhibition space

ACP1552Wroczynski_Condition_Proposal.pdf Initial examination and report of condition on ACP1552

ACP1552_WoodID_Report 4885.pdf Harry Alden’s report on identification of the species of wood

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Treatment Summary: The primary goal of this treatment was to reduce discolored surface coatings, which was achieved using a custom-made solvent gel mixture. Structural intervention was deemed to be unnecessary after consulting with panel paintings specialist, Alan Miller from the Metropolitan Museum of Art.5 B-72 in Shellsol A-100 was used as an isolating varnish to saturate the aged surface. Filling of losses was carried out with a more traditional hide glue putty commonly used on painted wooden supports. Inpainting was begun with Golden PVA (AYAA/AYAC) and finished with final glazing in Gamblin (Laropal A-81) proprietary conservation paints. A modified tratteggio technique was employed to mimic the wood grain of the surface. Colored pencils were used to imitate craquelure and unify the surface. Treatment Procedures:

1. A lipase enzyme was applied in a methylcellulose gel in a test region near the proper left shoulder of the dummy board.

This enzyme targets lipids and was chosen because of the characteristics of an oil varnish observed macro- and microscopically. No visible difference was noted in the test region and nothing was coming up in the gel on swabs upon removal/clearance. GC-MS analysis of the coating revealed that there was a high mineral wax content, which could have been interfering with the lipase activity.

2. A cleaning test with a solvent gel of diacetone alcohol was performed in a small

region of the proper left hand. This gel was extremely effective at removing the discolored coatings, but was suspected as potentially over-cleaning. Two cross sections were taken from the test area, cast, polished, and examined under the microscope to evaluate the cleaning. Some natural resin remained on the surface, but it was uneven and pitting was observed in the paint layer. Therefore, this gel was determined to be too aggressive and a more comprehensive testing was conducted.

3. A series of cleaning tests was performed in the proper left hand to compare to the

first cleaning test. Given the aged surface and efficiency of the diacetone alcohol it was anticipated that a fairly polar solution would be necessary. The results were as follows:

5 While some of the separation of the boards is significant, Miller did not find any evidence that the wood was actively moving. The object has been housed in the same environment for over 70 years, and so it has likely adapted to the conditions. When slight pressure was applied to the individual planks they felt secure and the adhesive between them was still functioning. The battens have also helped restrain the planks and removing them could make it more difficult to realign in the end. No aesthetic treatment was performed on the verso of the object either because it is not intended to be seen and there are various inscriptions and artifacts of past treatment preserved on the verso (see original condition and examination report).

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Figure 1. Initial cleaning tests for varnish reduction on proper left hand. (far left) Final cleaning system was tested on other colors at the proper right shoulder.

Cleaning system Composition Observations Acetone Works much quicker and

more evenly than Keck #2 Fairly matte appearance; perhaps too far all the way through natural resin varnish?

Keck #2 Acetone 20 parts Diacetone alcohol 10 parts Mineral spirits 70 parts

Seems to be swelling oil coating (black swabs) Slightly uneven cleaning Takes multiple passes Still appears discolored/aged yellow look

1:1:1 Petroleum Benzine Diacetone alcohol EtOH

Similar to Keck #2 but more even Slower more passes needed than acetone Under UV light seems like natural resin coating still present

1:1 Acetone EtOH

Slower than neat acetone Picking up lots of black on swabs

Acetone: Isopropanol Acetone 1 part Isopropanol 1part

Slow; doesn’t really get down to flesh color Yellowish coating still present

Acetone: Isopropanol Acetone 3 part Isopropanol 1 part

Equally slow as 1:1 acetone: isopropanol perhaps even less effective

Acetone Pemulen gel 2% v/wt concentration Fairly good; slightly less

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strong (higher % acetone might be better)

Acetone Pemulen gel 5% v/wt concentration Actually not at all effective (water must have been doing most of the cleaning in other Pemulen formulation)

Benzyl alcohol Pemulen gel 2% v/wt concentration Broke through oil coating nicely; still seems discolored Even cleaning

Benzyl alcohol Pemulen gel 5% v/wt concentration Slightly better and faster (fewer passes) from 2% solution Under UV light natural resin coating seems to still be present

Benzyl alcohol Pemulen gel 10% v/wt concentration Seems to remove more than lower concentrations based on what is coming off on swab

Benzyl alcohol Pemulen gle 20% v/wt concentration About the same as 10% formulation

Shellsol solvent gel with Benzyl alcohol

Ethomeen C-12 20mL Carbopol 934 2g Shellsol D38 100mL deionized water 10mL 5% v/wt in stock gel

Not moving much even though yellow coming up on swab. Not much visual improvement

Shellsol solvent gel with benzyl alcohol

Ethomeen C-12 20mL Carbopol 934 2g Shellsol D38 100mL Deionized water 10mL 10% v/wt in stock gel

About the same as the 5%; appears to be removing just some of the oil coating

Shellsol solvent gel with acetone

Ethomeen C-12 20mL Carbopol 934 2g Shellsol D38 100mL Deionized water 10mL 5% Acetone v/wt in stock gel

No results; nothing coming up

Shellsol solvent gel with acetone

Ethomeen C-12 20mL Carbopol 934 2g Shellsol D38 100mL Deionized water 10mL 10% Acetone v/wt in stock gel

Some coming up on swab but no noticeable visual improvement in test area

Xylene solvent gel Ethomeen C-12 20mL Nothing

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Carbopol 934 2g Xylene 100mL Deionized water 10mL

Less effective than the Shellsol gels

Acetone solvent gel Ethomeen C-25 20mL Carbopol 934 2g Acetone 100mL Deionized water 10mL

Sticky and somewhat challenging to clear Seems to swell the natural resin immediately; very effective

Benzyl alcohol solvent gel Ethomeen C-25 20mL Carbopol 934 2g Benzyl alcohol 100mL Deionized water 10mL

Seems to break through oil coating very quickly; does not seem to touch natural resin coating

Benzyl alcohol solvent gel with acetone

Ethomeen C-25 20mL Carbopol 934 2g Benzyl alcohol 100mL Deionized water 10mL 10% acetone v/wt in stock gel

Works really fast; still dark residue on skin left on surface

Benzyl alcohol solvent gel with acetone

Ethomeen C-25 20mL Carbopol 934 2g Benzyl alcohol 100mL Deionized water 10mL 20% acetone v/wt in stock gel

Works equally efficiently; slightly more even than 10% Significant blanching

Acetone solvent gel with benzyl alcohol

Ethomeen C-25 20mL Carbopol 934 2g Acetone 100mL Deionized water 10mL 10% Benzyl alcohol v/wt in stock gel

Worked really quickly; didn’t go all the way through

4. Discolored coatings were reduced overall using an Ethomeen-Carbopol 934

acetone solvent gel with 10% v/wt benzyl alcohol added to the stock gel. Under magnification it appeared that dirt and grime were trapped under the natural resin coating and that reduction/removal of this coating might be necessary in addition to removing the oil coating in order to improve the surface appearance. A thin layer of the natural resin varnish was left when possible.

The gel was applied to the surface with a soft brush and gently agitated to increase efficacy. Cleaning was done in small organic shapes (no larger than 2in2) at one time. The gel was removed with a dry cotton swab once it started to discolor (take up degradation products). The area was then cleared with a 2:1 solution of Shellsol odorless mineral spirits: isopropanol. The clearance solution was passed over the surface until the swab remained clean. In areas that required multiple applications only the acetone solvent gel (no benzyl alcohol added) was typically used in

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subsequent passes because the benzyl alcohol had presumably broken through the oil component. The pants did not clean as evenly as the rest of the surface and Richard Wolbers proposed that this suggests possible uneven cleaning in the past. A 1:1 mix of isopropanol solvent gel and Shellsol solvent gel was found to be effective at evening out these areas with less risk to the painted surface.

Figure 2. During treatment. Cleaning of the object took place in the Winterthur Paintings studio with the figure upright against a soft board. The lower image shows the gel system with discoloration products after removal from the surface.

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(a) (b)

Figure 3. During treatment. (a) Cleaned area in visible light. (b) Same cleaned area under ultraviolet light. Note that a thin layer of varnish remains on the surface even after cleaning.

Figure 4. During treatment. Comparison of a cleaned area of the pants under visible light (left) and ultraviolet light (right).

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(a) (b) Figure 5. (a) ACP1552 during cleaning; this image was used for the large-scale printout. (b) ACP1552 after cleaning but before varnishing.

5. The lower proper left corner had been previously heavily overpainted with a grey paint6 to disguise areas of loss along the wood grain.7 There may have also been a previous attempt to consolidate this area as the surface appeared waxy. Erisoty mentions using BEVA 371 in his 1992 report. The solvent gel system used overall was not very effective at removing this overpaint and would have required numerous applications that could have put original paint at risk. Therefore, testing with aqueous polar systems was performed. The results were as follows:

6 This area also had a waxy sheen to it likely due to a previous consolidation attempt. BEVA 371 was documented as a consolidant in 1992 (Erisoty 1992), but mineral or beeswax could also have been used prior to 1992 given the wax found on the surface and in joins during technical analysis. 7 Furniture conservator, Greg Landrey, noted that these linear losses correspond to growth rings. The paint has remained in early wood because it is more porous and results in better adhesion. The areas of loss correspond to the late wood, which is inherently more dense, and the paint typically does not adhere as strongly in this area. The crack in the exact middle of the object originating at the bottom edge to part way up the pants corresponds directly to the pith of the tree.

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Cleaning system Composition Observations Xanthan gel 2% in deionized water Grey milky residue coming

off on swab No visible change on surface

Pemulen gel 2% in deionized water Similar to Xanthan gel but faster

Pemulen gel with acetone Pemulen gel 5% acetone v/wt of stock gel pH 6

Very efficient, easy to clear and even but significant blanching

Same in area of proper right thumb; also further reduced overpaint mechanically Regalrez varnish (50g in 100mL Shellsol OMS) was applied locally with a silk cloth over areas with noticeable blanching in order to resaturate the surface.

Before Treatment

After Cleaning Figure 6. Details of heavily overpainted and damaged area in lower right corner.

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Before Treatment

After Cleaning

Figure 7. Details of proper right hand before treatment and after cleaning. Note the old inpainting on the reconstructed thumb and the old fill in the tip of the fingers.

6. B-72 was chosen as an isolating varnish because it is very stable, provides a matte finish, and is a large polymer that works well to saturate aged and cracked surfaces. B-72 is also not as easily reversed in inpainting solvents as Regalrez.

Varnish in different concentrations was applied in small test areas before choosing 40g resin in 150mL Shellsol A-100. Tests were removed with Shellsol A-100 and previous Regalrez with Shellsol OMS using Webril 100% non-woven cotton pads before brush applying the final formulation overall.

Figure 8. Applying varnish with a brush.

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After Cleaning

After Varnishing and Filling

Figure 9. Comparison of ACP1552 before varnishing and after varnishing and filling losses.

7. Old losses were mechanically cleaned with a scalpel and isopropanol as needed to remove any adhesive, old filler, old varnish material.

8. Losses were filled using a custom hide glue putty: Hide glue bloom strength 222 15g

Kaolin 30g Dry pigments 11.25g

Deionized water (enough to cover hide glue in beaker)

The putty was typically applied with a microspatula. More shallow losses were built up in layers using a soft brush. The putty was kept warm in a double boiler. After setting overnight, the fills were leveled using a damp cotton cloth over a rounded cork.

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This fill material was chosen based on consultation from Stephanie Auffret, comparison of working properties of traditional wood and painting fill materials on mock ups, and independent research on stability of different fill materials under different environmental conditions (Fuster-Lopez et al. 2007).

Figure 10. Details comparing before and after filling of losses on ACP1552.

Before Filling After Filling Losses

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Before Filling After Filling Losses

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9. Araldite two-part epoxy resin was used to fill one area of loss in the proper right thumb because this loss extends to the edge and requires more structural integrity.

A hide glue barrier was applied to the area of loss and allowed to set only until tacky. The area around the loss was masked off with blue tape to protect the varnish coating (removal of excess Araldite could have dissolved the B-72 or caused blooming). 100parts resin and 82 parts hardener were weighed out separately under the fume hood. They were then mixed together until even with a wooden spatula. The Araldite was applied with a microspatula and intentionally overfilled. After setting for a few hours the tape was removed. The Araldite was allowed to set overnight. The excess material was leveled and sculpted with a small chisel.

Figure 11. Filling loss at edge of proper right hand with Araldite epoxy.

After applying epoxy, before leveling

Before Filling

After Filling

After Leveling

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10. Stephanie Auffret and Mark Anderson assisted in taking a small sample (2mmX

2mm X 2mm minimum) at an abraded edge on the lower proper right side of ACP 1552 to send for wood species identification by Harry Alden.

Alden’s findings are in the accompanying report. The wooden substrate is spruce (a softwood Picea sp.). Although 7 spruce species are found in North America, Alden concluded that this sample suggests a Canadian or English origin.

Figure 12. Detail of lower left corner where sample was taken for wood species identification

11. Inpainting was carried out in certain areas first with Golden PVA

(AYAA/AYAC) paints to build up a base color and was brought to a level of finish with Gamblin (Laropal A-81 resin) conservation paints and a modified tratteggio technique. The diluent for both paint systems was 80 parts EtOH and 20 parts diacetone alcohol.

Figure 13. Details of inpainting on ACP1552

Detail of modified tratteggio

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Before Inpainting After Inpainting

Before Inpainting After Inpainting juxtaposed with original feather on

opposite side

Before Inpainting After Inpainting

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Before Inpainting After Inpainting; immitation craquelure applied with

colored pencil

Before Inpainting After Inpainting

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Figure 14. ACP1552 under ultraviolet light before treatment (a) and after treatment (b). The dark areas under UV after treatment document inpainting. (The lower portion of the figure is dark because the lights could not illuminate the figure overall.)

12. A final varnish coating was not applied. Instead MS2A varnish in petroleum benzine with wax was locally brush applied as needed to achieve a consistent gloss overall.

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Recommendations for Future Care and Handling: When the object returns to display at GHS it should be securely mounted in placed. It is recommended that a metal mount be used and screwed into one of the non-original battens (highlighted in red in figure 15) on ACP1552:

Figure 15. Non-original battens on verso based on modern hardware and machine markings.

A custom mounting brace could be machined by an exhibition mountmaker or preparatory, but there are some wallmounts for televisions/electronics that could potentially be repurposed.

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http://besteverav.manufacturer.globalsources.com/si/6008842688676/pdtl/Full-motion/1101365013.htm

http://www.monoprice.com/Product?c_id=108&cp_id=10828&cs_id=1082804&p_id=6839&seq=1&format=2

Figure 16. Examples of wallmounts

If placed in storage, the object should be supported on padded blocks leaning against a smooth surface with added cushioning behind the head of the figure. Secure the object with soft twill tape across the torso. The major damages that were present on the surface (abrasion, paint loss, etc.) were concentrated in the lower areas of the figure. Human interaction such as bumping into the figure likely caused many of these condition issues. As the dummy board returns to display, he should be kept out of high traffic areas. Reducing the relocation of the object lowers the risk of potential damage. If the object has to be moved, a path should be cleared and the height clearance should be verified ahead of time. The movement of the supporting planks appears to have stabilized. Improvements to the environment suggested in the preliminary report would help with long-term preservation. Summary of Treatment Hours:

Treatment Step Number of Hours Surface cleaning/varnish reduction 72.5 hrs Mechanical reduction of overpaint 1 hr Isolating varnish 1 hr Cleaning old losses 1 hr Preparing hide glue putty fill material 2 hr Filling 18.5 hrs Araldite fill 1 hr Inpainting 49.5 hrs Total Hours 176.5 hrs

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Materials and Suppliers: Material Supplier Lipase Sigma Aldrich Ethomeen C-23, C12 Talas Carbopol 934 Talas Pemulen The Personal Formulator Xanthan gum The Personal Formulator Paraloid B-72 (ethyl methacrylate methyl acrylate copolymer)

(Rohm and Haas) Talas

Regalrez 1094 Conservation Materials Ltd. (800) 733-5283 MS2A (polycyclohexanol resin)

No longer manufactured

Cosmoloid Wax Talas Hide glue Talas Kaolin Fisher Scientific Araldite AV 1253 (Bisphenol A epoxy resin with iron oxide fillers)

Freeman Manufacturing & Supply Company https://www.freemansupply.com/AralditeAV1253HV12.htm

Golden PVA (AYAA/AYAC)

Golden Artist Paints (no longer commercially manufactured)

Gamblin Conservation Colors Laropol A-81

Gamblin Artists Colors

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References: Erisoty, Steven. 1992. Examination and Treatment Report of Meschianza Dummy Board. In curatorial object file for GHS1051 (ACP 1552). Germantown Historical Society. Erisoty, Steven. 2014. Personal communication. Rotunda Auditorium. Winterthur Museum, Winterthur, DE. Fuster-Lopez, Laura, Marion F. Mecklenburg, Maria Castell-Agusti, and Vicente Guerola Blay. 2007. Filling materials for easel paintings: when the ground reintegration becomes a structural concern. In Preparation for Painting: The Artist’s Choice and its Consequences, eds. Joyce H. Townsend, Tiarna Doherty, Gunnar Heydnreich, and Jacqueline Ridge. London: Archetype Publications Myers, Albert Cook, ed. 1902. Sally Wister’s Journal: A True Narrative Being a Quaker Maiden’s Account of Her Experiences with Officers of the Continental Army, 1777-1778. Philadelphia: Ferris & Leach. Watson, John F. c. 1823. Annals of Philadelphia. Unpublished extra-illustrated manuscript, index compiled by Water Brenner. Yi2 1069.F. Prints and Photographs Department. Library Company of Philadelphia. 242 (illustration), 300-305.

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Photodocumentation: Important photomicrographs are included in the accompanying technical study. Physical cross section samples are included in this report. Description of Image Winterthur Digital File Name Before treatment, recto, overall

ACP1552_BT_recto_overall.tif

Before treatment, verso overall

ACP1552_BT_verso_overall.tif

Before treatment, recto, overall raking light

ACP1552_BT_recto_overall_RL.tif

Before treatment, recto, overall UV light

ACP1552_BT_recto_overall_UV.tif

Before treatment, verso, overall UV light

ACP1552_BT_verso_overall_UV.tif

Before treatment, recto, detail head

ACP1552_BT_recto_detail_head.tif

Before treatment, recto, detail proper right hand

ACP1552_BT_recto_detail_PRhand.tif

Before treatment, recto, detail proper left hand

ACP1552_BT_recto_detail_PLhand.tif

Before treatment, recto, detail lower proper left corner

ACP1552_BT_recto_detail_PLlower_corner.tif

Before treatment, verso, detail proper right hand

ACP1552_BT_verso_detail_PRhand.tif

Before treatment, verso, detail, fingerprints

ACP1552_BT_verso_detail_fingerprints.tif

Before treatment, recto, detail old paper label, UV light

ACP1552_BT_recto_detail_oldlabel_UV.tif

Before treatment, recto, detail head, UV light

ACP1552_BT_recto_detail_head_UV.tif

Before treatment, recto, detail proper right hand, UV light

ACP1552_BT_recto_detail_PRhand_UV.tif

Before treatment, recto, detail proper left hand, UV light

ACP1552_BT_recto_detail_PLhand_UV.tif

Before treatment, recto, detail lower proper left corner, UV light

ACP1552_BT_recto_detail_PLlower_corner_UV.tif

Before treatment, recto, detail head, UV light

ACP1552_BT_recto_detail_head_UV.tif

Before treatment, detail torso, X-radiograph

ACP1552_BT_detail_torso_XR.tif

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Before treatment, detail head, X-radiograph 25kv, 3mA, 30sec

ACP1552_BT_detail_head_XR.tif

Before treatment, detail proper right hand, IRR

ACP1552_BT_detail_PLhand_IRR.tif

Before treatment, detail belt, IRR

ACP1552_BT_detail_belt_IRR.tif

Before treatment, detail head, IRR

ACP1552_BT_detail_head_IRR.tif

During treatment, recto, overall mid-cleaning

ACP1552_DT_recto_overall_cleaning.tif

During treatment, recto, detail overpaint

ACP1552_DT_recto_detail_overpaint.tif

During treatment, recto, detail lower proper left corner

ACP1552_DT_recto_detail_PLlower_corner.tif

During treatment, recto, detail proper left hand, after cleaning

ACP1552_DT_recto_detail_PLhand_after_cleaning.tif

During treatment, recto, detail proper right hand, after cleaning

ACP1552_DT_recto_detail_PRhand_after_cleaning.tif

During treatment, recto, detail head, after cleaning

ACP1552_DT_recto_detail_head_after_cleaning.tif

During treatment, recto, detail head, UV light

ACP1552_DT_recto_detail_head_UV.tif

During treatment, recto, detail torso, UV light

ACP1552_DT_recto_detail_torso_UV.tif

During treatment, recto, detail pants, UV light

ACP1552_DT_recto_detail_pants_UV.tif

During treatment, recto, detail pants, view two, UV light

ACP1552_DT_recto_detail2_pants_UV.tif

During treatment, recto, detail pants, view two, normal light

ACP1552_DT_recto_detail2_pants_NL.tif

During treatment, recto, detail, proper left hand, UV light

ACP1552_DT_recto_detail_PLhand_UV.tif

During treatment, recto, detail, proper left hand, normal light

ACP1552_DT_recto_detail_PLhand_NL.tif

During treatment, recto, overall after cleaning

ACP1552_DT_recto_overall_after_cleaning.tif

E.Wroczynski 30

During treatment, recto, overall filled

ACP1552_DT_recto_overall_filled.tif

During treatment, recto, detail head, filled

ACP1552_DT_recto_detail_head_filled.tif

During treatment, recto detail shoes, filled

ACP1552_DT_recto_detail_shoes_filled.tif

During treatment, recto, detail lower proper left corner, filled

ACP1552_DT_recto_detail_PLlower_corner_filled.tif

During treatment, recto, detail proper right hand, before filling

ACP1552_DT_recto_detail_PRhand.tif

During treatment, recto, detail proper left hand, filled

ACP1552_DT_recto_detail_PLhand_filled.tif

During treatment, recto, detail pants, filled

ACP1552_DT_recto_detail_pants_filled.tif

During treatment, recto, detail pants, filled, view two

ACP1552_DT_recto_detail2_pants_filled.tif

During treatment, recto, detail proper right reconstructed turban

ACP1552_DT_recto_detail_PRturban_filled.tif

During treatment, recto, detail proper left reconstructed turban

ACP1552_DT_recto_detail_PLturban_filled.tif

During treatment, recto, detail beard, filled

ACP1552_DT_recto_detail_beard_filled.tif

During treatment, recto, detail belt, filled

ACP1552_DT_recto_detail_belt_filled.tif

During treatment, recto, detail proper right hand after araldite fill

ACP1552_DT_recto_detail_PRhand_filled.tif

After treatment, recto, overall

ACP1552_AT_recto_overall.tif

After treatment, recto, overall, raking light

ACP1552_AT_recto_overall_RL.tif

After treatment, recto, overall, UV light

ACP1552_AT_recto_overall_UV.tiff

After treatment, verso, overall

ACP1552_AT_verso_overall.tif

After treatment, recto, detail proper right hand

ACP1552_AT_recto_detail_PRhand.tif

After treatment, recto, detail proper left hand

ACP1552_AT_recto_detail_PLhand.tif

E.Wroczynski 31

After treatment, recto, detail proper left hand, close-up

ACP1552_AT_recto_detail_PLhand2.tif

After treatment, recto, detail head

ACP1552_AT_recto_detail_head1.tif

After treatment, recto, detail head, alternate view

ACP1552_AT_recto_detail_head2.tif

After treatment, recto, detail proper left reconstructed turban

ACP1552_AT_recto_detail_PLturban.tif

After treatment, recto, detail proper right reconstructed turban

ACP1552_AT_recto_detail_PRturban.tif

After treatment, recto, detail lower proper left corner

ACP1552_AT_recto_detail_PLlower_corner.tif

After treatment, recto, detail, pants reconstruction

ACP1552_AT_recto_detail_pants_reconstruct.tif

After treatment, recto, detail belt

ACP1552_AT_recto_detail_belt.tif

After treatment, recto, detail beard

ACP1552_AT_recto_detail_beard.tif

After treatment, recto, detail, inpainting on proper right arm

ACP1552_AT_recto_detail_PRarm_inpainting.tif

After treatment, recto, detail, modified tratteggio

ACP1552_AT_recto_detail_tratteggio.tif

After treatment, recto, detail, inpainting over araldite, proper right hand

ACP1552_AT_recto_detail_inpainting_araldite.tif