Painted Photograph

A painted photograph of a woman. The artwork is stained and damaged. Creased in many places and missing in others. The woman wears a black dress and faces the camera. Her hair is styled upon her head in a loose updo.

Painted Photography Before Treatment

Cultural History

Painted photographs were popular in the Victorian era as they were generally affordable for the middle class and simulated easel paintings as they would be applied to a stretched canvas. Painting the photographs were more economical than easel paintings as a complete likeness of the sitter could be created instantly and tinting of the colours could be done by inexperienced artists. The invention of colour photography led to the decline of painted photographs and the technique of applying paper to canvas makes them susceptible to damage.

Condition Before Treatment

The condition of the photograph before treatment was very poor. In the past, the photograph was removed from its stretched canvas support frame. The photograph was then likely rolled inwards and placed into storage in uncontrolled relative humidity. This has caused differential expansion and contraction and embrittlement of the canvas and paper causing structural tears. The paper has become more acidic as the lignin in the paper acidifies over time, causing a yellowing of the face which has been painted using glazes, which used the original whiteness of the paper as the undertones to the face. Along the break edges and creases there was delamination of paint and abrasion of the break edge, causing structural losses. The left side of the photograph was missing structural pieces.

52x magnificantion of the surface of the paper. This photo of the paper shows a structural loss to the paper. the break edges are light brown with exposed paper pulp. Canvas weave can be seen in the crack of the paper.
close up photo of a break edge to the paper. The right break edge overlaps the left break edge.
Photo of loose paint under 20x magnification. it shows a crease along the centre of the image with paint flaking from the crease.
(Left) Canvas lining exposed in tear of the paper. (Centre) Tear in the paper creating an overlap of the break edges. (Right) Paint detachment along a crease in the paper.

Treatment

Consolidation of flaking paint and friable paper:

This was done using a consolidation medium to prevent loss of original material. This was done under 20x magnification in conjunction with humidification to relax and flatten the paper and canvas. Humidification was under weights to prevent flexing of the canvas and paper. The photograph was then left to dry using blotting paper to remove the excess moisture under weight to prevent the canvas and paper deforming while it dries.

20x magnification image of detached paint along a vertical crease of the paper.
20x magnification of the detached paint from previous image. The paint is being gradually moved back to its original location after introduction of consolidate.
Photo of area after consolidation. The loose detached paint has been returned to its original location. cracks are still visible in the paint but no loss is noted.

Consolidation of detached paint to the paper (under 20x magnification).

Consolidation of delaminating paper from the lining.

Due to the poor, fragile condition of the paper, the original lining could not be removed from the paper. Areas where the paper was delaminating from the canvas were consolidated using BEVA Film (a heat activated adhesive) to prevent introduction of a wet adhesive casing a tideline to the paper (which a solvent activated adhesive could risk). This adhesive came as a dry film and was placed between the layers. Using a piece of Melinex, a heated spatula at 65 degrees Celsius was used to activate the adhesive and secure the paper to the lining.

Tear Repair

To do structural repairs. BEVA-TEX was desired, however a home made version was created using BEVA Film and Reemay (a non woven polyester). These were bonded using a heated spatula and cut to size to prepare for the new bonds. Thin strips of this was applied, BEVA side down to the canvas and using heated spatula and a mirror to align the pieces, the tears were repaired.

close up of the right side of the painted photograph before treatment. large sections are detached and the right side of the image is missing pieces. There is a structural tear along the bottom of the image.
close up of the right side of the painted photograph before treatment. large sections are detached and the right side of the image is missing pieces. There is a structural tear along the bottom of the image.
Back of right side of the painted photograph showing the tear repair using BAVA film and Reemay.
(Left and Centre) Before and after tear repair using BEVA and Reemay. (Right) Back of photograph showing the repair.

Gap Fills

Acid free paper was used and inserted into the areas of loss. This was built up using a sympathetic adhesive to the original paper. Multiple layers of acid free paper was built up to fill the areas of loss.

close up of the right side of the painted photograph before treatment. large sections are detached and the right side of the image is missing pieces. There is a structural tear along the bottom of the image.
Right side of the painted photograph is pictured after tear repair and consolidation of flaking paint. losses to the paper can be clearly seen.
Close up photo of the right side of the painted photograph after gap fills and tear repair. The gap fills are white.
(Left) Area before treatment. (Centre) Area during re-joining. (Right) Area after gap fills to match the original paper level.

Re-lining

To provide structural support to the painted photograph, a new lining was applied to the back using BEVA Film and Reemay.

Retouching

Retouching was necessary to disguise the areas of loss. Acrylic paints were used to retouch the areas of loss as they best matched the original oil paints in terms of shine and colour. Small dots of colour matched paint was applied to the areas of loss to limit the amount of added material to the paper as the addition of acrylic paint to the paper was irreversible, therefore the moto of less is more was adopted. The colour was made lighter than the original area as this would make it easily recognisable as retouching, however it would not distract the eye of the viewer. Due to the condition of the paper, removal of the water marks to the face could not be done.

close up photo of the right side of the painted photograph after gap fills. losses to the paint have been filled with white paper which is clearly visible.
close up photo of the right side of the paper. The losses in the previous image have been retouched to match the original surrounding material. The joins can still be seen but their appearance is lessened with retouching.
close up photo of the right side areas of loss after retouching under Ultraviolet light. The acrylic paint glows black under Ultraviolet light while the original lead paint glows luminous blue. This shows retouching as small dots the the surface.
(Left) After gap fills. (Centre) After retouching. (Right) Area under UV Light to show how much retouching was applied to the area.
A painted photograph of a woman. The artwork is stained and damaged. Creased in many places and missing in others. The woman wears a black dress and faces the camera. Her hair is styled upon her head in a loose updo.
Painted photograph after treatment, the staining to the face is still visible but the tears to the paper have been mended and the image is completed by the retouching.
Before and After treatment

Digital stain removal

Due to the sensitivity of the paper, de-acidification could not be done. Since this object is becoming acidic and would continue to deteriorate over time, photographs were taken of the photo after treatment to preserve its current appearance. This created the opportunity to lessen the appearance of the stains to the face.

painted photograph after treatment. The faces still has staining to it but the tears have been mended but are still visible upon closer inspection.
Painted photograph after digital stain removal. The evidence of historic tears have been removed and the watermark on the face has been lessened.
Before and After Digital Stain and tear visual improvement.

Reflection By The Conservator

The treatment of this object has taught me to be patient with my treatments and the importance of documentation as since this object was particularly sensitive to moisture, any consolidation of the paint could impact the visual appearance of the object. Therefore high quality photos were required to detail the treatment.

Headshot of Harry. He is a white male, wearing a long-sleeved red buttoned down shirt with a collar. He has long brown wavy hair down to his shoulders and shown smiling. The background is black.

This object was treated by Harry, click on his profile to learn more about him.