Preprint from the 9th International Congress of IADA, Copenhagen, Augu - PDF document

Preprint from the 9th International Congress of IADA, Copenhagen, August 15 - 21, 1999.brick wall. The large numbers of wallpapers that have sur-vived in situ from the eighteenth century, and a few from evenOften in larger houses, a stretched textile, usually a can-gap. The use of a textile as a support for valuable wallpa-ing of the wallpaper, should the owner wish to move houseor change decoration. Removal and re-hanging was in factquality wallpapers were expensive to buy.However, the high survival rate of historic wallpapers doeslematical ones that utilise a stretched textile. As the charac-changes. It could be argued that the historic textile liningFor the purpose of this paper, we shall concentrate on theas studding). Wooden battens were fixed to the perimetersof a brick or plastered wall; however, wooden walls usuallygap. In the latter case, the textile was directly against, al-though not deliberately adhered to the wall surface. Conse-weaving tension and allowed to dry. It would then beto the battens with upholstererÕs tacks. These were usually ofPhilip Meredith, Mark Sandiford, Phillippa Mapesgreatly increased. Consequently, the financial commitmentdeveloped, particularly for in situ projects. The conserva-wallpaper is frequently neglected. Here, the historic tech-analysed and improvements to the system are suggested. AsSeit einiger Zeit hat die WertschŠtzung von historischen Ta-kelt. Die Restaurierung der Tapeten selbst ist gut dokumen-tiert, die Vorbereitung der WŠnde, auf welche die neurestaurierten Tapeten montiert werden, wird jedoch meistTapeten auf einen aufgespannten, textilen TrŠger analysiertund Verbesserungen dazu vorgeschlagen. Wie so oft kšnnenverbessertes TrŠgersystem fŸr historische Tapeten unter Ver-und einer Auswahl von japanischen Kaschiermaterialien wirdvorgeschlagen.plex preparations. All lining systems were intended to create tacks has been known. Once stretched taught the canvas wouldbe coated with warm animal glue size. This performed threepaper. This gave an extremely solid surface under high ten-sheets applied individually and at considerable expense. Itwas introduced. This consisted of two linings, one appliedcreated by the first lining. The high survival rate of earlyThe application of the lining paper, whilst drying also increaseswith paste. The resulting surface is differential rate within the laminate exerts considerable stress onthe adhesive layers between the laminate. This stress is compoundedby the differing directional responses of the paper and canvas. Themost of the tension. The lining paper, if hand-made, generally hashung vertically the paper will respond in a horizontal direction. Across lining would give a balanced reaction. A single horizontalAs the system ages, both individually and collectively, ran-weaken due to the repeated movement. This consequently re-sag progressively under the weight of the paper. This in turnmore pronounced giving rise to further areas of differential re-In this way, the historic support system degrades in a pro-gressive manner, eventually causing serious damage to the wall-tension, yet comprising organic materials whose characteristicsdoes not provide a stable system. In developing a new method forsystem need to be identified and improved upon. However, it shouldroom setting and building, and as such a degree of historical cor-in which it functions will rarely be of museum standard. There-damage. The new system should also reveal damage should itTextileare based. Canvas, including high quality linen canvas al-firm base on which to work. It is also inherently acidic as itfirm base on which to work. It is also inherently acidic as itThe stretching of a textile to cover a wall surface has itsroots in the hanging of tapestries and textiles and as such is animportant technique in the context of a historic interior. Thethe type of decoration intended to cover them. Therefore, thisto preserve. The installation of new boards or panels ontothe canvas. Woven polyester fulfils these criteria and has al-years now. Because of its construction, air flow is possibleneed of a size to heighten and fix the tension. The consequentof the polyester. Non-rusting staples with a flat bar are usedto avoid cutting when fastening the polyester.ral canvas. This however, is not necessarily problematical, is not necessarily problematicaland can be countered to a greater extent by careful selection ofpaper and slight modification of the adhesive. The addition of Considering the infrequency, high monetary cost and disrup-the best possible, durable support. For conserved historic system, would appear to be themost suitable to date. The polyester and cushion layer/s pro-pers, the techniques and materials used in the wall linings there-fore provide a more compatible laminate. Finally, the cushionS.R.A.L. Maastricht, particularly Nico van de Woude, andPauline Webber, Head of Paper Conservation, The Victoriaand Albert Museum, London.1Hackney, S. and Hedley, G. ÔMeasurements of the ageing, Vol. 26 (1981),2Under extreme stress it is preferable that the bond betweentextile and lining paper fails, thereby protecting the wallpaper.3Vanke, F. The Conservation of an Oversized CartoonCamberwell College of Arts (1994), p. 99.4Webber, P. Huxtable, M. ÔKaribari / the Japanese drying-, Vol. 9 (1985), pp. 54-60.5Woude, Nico van de. ÔThe Conservation of HistoricChinoiserie Interiors and Chinese Export WallpapersPhilip Meredith studied and worked for eleven years inservation Centre at the National Museum of Ethnology,Leiden, The Netherlands.: After serving an apprenticeship and work-conservator at Camberwell College of Arts on the OND and 1. Chinese export wallpaper, mid. nineteenth century. Before removal duringinital mechanical surface cleaning. Showing discolouration around piertoric wallpapers and large works of art on paper on the RCA/ums and Galleries Young Conservator of the Year Award, 46