Author & Subject
Treatment of a Painting
by the Transfer Method
by Mervyn Ruggles,
National Conservation and Research Laboratory
| 2 | 3
1 'Peleg Franklin Brownell, 1857-1946, born at New Bedford,
Massachusetts. Studied at the school of the Museum of Fine Arts,
Boston, under Thomas W. Dewing and in Paris at the Académie Julian
and with Léon Bonnat. Came to Canada in 1885 as head of the Ottawa
Art School. A. R. C. A. in 1894, R. C. A. in 1895. Retired from teaching
in 1937. Painter of landscape in eastern Canada and the United
States and the West Indies. Founding member of the Canadian Art.
Club, 1907. Died in Ottawa.' R. H. Hubbard, The National Gallery
of Canada Catalogue of Paintings and Sculpture, 111, Canadian
School, Ottawa, 1960, p. 29.
2 'The Care of Paintings: Fabric Paint Supports', Museum,
XIII, No.3, 1960, p. 144.
3 The thermosetting adhesive used for this painting consisted of a
mixture of yellow beeswax four parts, Multiwax W-445 two parts,
Multiwax W-835 one part.
4 Brownell - 'Autumn on the Gatineau', Examination and Treatment
Report, 4586. Conservation and Scientific Research Division,
National Gallery of Canada, 1963; treatment carried out by Mr Mervyn
Ruggles and Mr Bernard Hamelin.
5 Manuel de la Conservation et de la Restauration des
Peintures, Office International des Musées, Institut
International de Coopération Intellectuelle, Paris, 1939, pp. 230-
6 James Roth, 'Technique for Transfer using a Rigid Facing Support',
Exposition of Painting Conservation,
The Brooklyn Museum,
1962. The process of transfer in this account describes the
application of an auxiliary layer of whiting mixed with plaster of
Paris and gelatine to the back of the existing ground, after removal
of the original canvas, prior to laminating on the new fabric. In
the course of treatment on the Franklin Brownell painting no
additional ground layer was introduced on the back. The painting was
transferred directly to the new linen.
7 The hot table was pioneered by H. Ruheman and others. See 'The
Impregnation and Lining of Paintings on a Hot Table', Studies in
Conservation, 1,1953, pp. 73-76. The Autumn on the Gatineau
vacuum feature was developed later by H. E. Straub and Oil on
canvas, 36" x 42", 97.4 x 106.7 cm.
S. Rees Jones. See 'Marouflage, Relining and the Treatment of
Cupping with Atmospheric Pressure', Studies in Before transfer.
Waved lines indicate regions of paint Conservation, II, 1955,
pp. 55-63. An early version of a table with a heated surface but
without the vacuum feature was in use during the mid-1940s at the
Boston Museum of Fine Arts, Department of Paintings.
8 Stefan Slabczynski, 'The Large Vacuum Hot-Table for the Wax
Relining of Paintings in the Tate Gallery', Studies in
Conservation, V, 1960, pp. 1- 15.
9 The canvas used is unbleached Belgian linen, warp 32, weft 27
double threads per inch, supplied by Western Sales Company, 42
Lispenard St, New York 13, N. Y.
10 The heating elements are Electroflex silicone rubber fibreglass
heaters supplied by Electrodesign, 9124 St Lawrence Blvd, Montreal
17, Que., who also supplied the electronic temperature controller
and the 12 thermocouple temperature sensors in circuit with
automatic recorder. Mr Mortimer S. Delroy, Ottawa Manager of the
Electro-design Company, provided valuable advice and assistance
during the planning and installation of the electrical system.
Top of this page
| Français | Introduction
Index | Author
& Subject | Credits | Contact
This digital collection
was produced under contract to Canada's Digital Collections program,
Collections Program, Copyright
© National Gallery of