Abstract
This research investigates the effects of varnish removal from oil paintings using Evolon® CR microfibre cloth. Nine interviews were conducted with conservators, leading to an inventory of current Evolon® applications. Based on the interviews, experiments were devised to assess the properties of Evolon® and its effects during varnish removal from oil paintings in comparison to cotton swabs. Observations were made using the naked eye, microscopy (stereomicroscopy, Hirox®3D Digital Microscopy, Micro Reflectance Transformation Imaging (Micro-RTI)) and photography in both ultraviolet (UV) and daylight fluorescent lights. Furthermore, the solvent distribution behavior for the different application methods was visualized using a gelatin substrate and a fluorescein isothiocyanate (FITC) fluorescent stain in ethanol. Application methods influence the efficacy of varnish removal, the solvent effect on the (paint) surface, the amount of solvent used and the solvent distribution. In general, this research revealed that in comparison with the use of cotton swabs, Evolon® facilitates the use of lower amounts of solvent and a reduction in mechanical action at the paint surface. This is potentially advantageous for cleaning solvent-sensitive paint surfaces. This practical approach will serve to guide conservators considering using this material for the first time.
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Notes
- 1.
Hereafter called Evolon®. https://evolon.freudenberg-pm.com/en Accessed 19.3.19.
- 2.
One day conference ‘Picture Meeting’ held at the Dutch Cultural Heritage Agency in January 2016: ‘Show and tell: practical paintings conservation issues’.
- 3.
Conducted by Michelle Vergeer, 3-month research project during a post-graduate traineeship in Conservation and Restoration of Paintings at the University of Amsterdam (UvA).
- 4.
[12]: Varnish strip III consists of 4 parts Venetian Turpentine, 2 parts sandarac, 8 parts oil of turpentine and 1-part nut oil. Varnish strip VI consists of 10 parts oil of turpentine and 5 parts mastic. Both recipes were made after recipes from the De Mayerne manuscript.
- 5.
Oral communication Klaas Jan van den Berg, October 2016.
- 6.
Varnished (April 2016) with multiple layers of dammar, then artificially aged 755 h in a dark room (50 °C, 30–80% RH, Vötsch VC0020) subsequently aged for 336 h in natural daylight next to a glass window.
- 7.
White polyurethane sponge, Deffner & Johann, Germany
- 8.
Single-Lens Reflex Camera (SLR): Nikon D750 with KINO-FLO 400 UV-lights and Broncolor Siros 800S RFS 2.1 flashlights. Stereo microscope: Leica MZ95, Hirox: a RH-2000 digital microscope with MXB-2500REZ dual illumination zoom lens and MXB-2016Z zoom lens (UV).
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Acknowledgments
This research was conducted at the Cultural Heritage Agency of the Netherlands (RCE) and the University of Amsterdam (UvA) and is part of IPERION-CH www.iperionch.eu (7.1c). The authors would like to thank everyone involved: Maarten van Bommel (UvA), Katrien Keune (Rijksmuseum Amsterdam, RMA/UvA), Kate Seymour (Stichting Restauratieatelier Limburg, SRAL), Han Neevel (RCE), Sofia Johansson (former trainee at RMA) and all interviewed conservators: Gwendoline Fife (SRAL), Kathrin Kirsch (Restauratieatelier Amsterdam), Anna Krekeler (RMA), Mireille te Marvelde (Frans Hals Museum), Kari Rayner (former trainee at Hamilton Kerr Institute), Julie Ribits (former trainee at Mauritshuis), Marjan de Visser (Restauratieatelier Marjan de Visser), Lisette Vos (RMA) and Nienke Woltman (RMA).
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Vergeer, M., van den Berg, K.J., van Oudheusden, S., Stols-Witlox, M. (2019). Evolon® CR Microfibre Cloth as a Tool for Varnish Removal. In: van den Berg, K., et al. Conservation of Modern Oil Paintings. Springer, Cham. https://doi.org/10.1007/978-3-030-19254-9_44
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