Headless Pins and Reframing the Edwin Austen Abbey Pastels
 

Believing in the importance of context or aesthetic wholeness in the viewing of and conservation of a work of art,  a paper conservator, a matter-framer and a carpenter each brought their skills and tools together to reframe pastels at the Yale University Art Gallery. Along the way, they  found a  creative way to use Benchmark's stainless steel headless pins.

 

 

How to Do It: The Edwin Austen Abbey Framed Pastels at the Yale University Art Gallery  

Originally presented by Terry Marsh as a poster at the AIC 31^st Annual Conference, June 6 - 9, 2003 Arlington, Virginia. Collaborators were Theresa Fairbanks-Harris, Chief Conservator, Yale Center for British Art,  Mary Regan-Yttre, conservation matter-framer, Yale Center for British Art, and Joe Bronco, a skilled carpenter.

 

Considerations: With the intent of retaining the artist's preferred presentation, a set of guidelines for the conservation and refitting of the framed pastels was established: 

• The original presentation should be retained.

• The pastel should not shift in any direction in the frame package.

• There should be a generous space between the glass and the pastel.

• The pastel should be isolated from contact with acidic materials.

• The frame package should be sealed to protect the pastel from dust and fluctuations in relative humidity and temperature.

Detailed Refitting Instructions

Click on framing component on image to see detailed instructions or go to step-by-step refitting instructions.

Abstract

We document Abbey’s choice of support materials and his decisions about techniques related to the display of the pastels. Some pastels were adhered overall to secondary rigid supports, while some were stretched and tacked to strainers. The manufactured primary support boards have sandpaper surface coatings or flocked surface coatings. The other papers show a range of colors. Some colored papers are extremely light sensitive, and may have been manufactured with fibers vat dyed with coal tar dyes. The brilliant pastels were also manufactured with coal tar (aniline dye) based colors. The use of strawboard as a secondary support has clearly protected the paper support from degradation and discoloration.

The condition of the framed pastels reflected their storage history.  A few had been damaged by mold. In some cases, the support boards were warped due to changes in humidity. A general problem was the offsetting of pastel against the glass, as the space originally allowed was not sufficient. Also, dust had accumulated inside the frame package. Pastels that had been exhibited suffered fading of both the pastel media and the paper support. The pastels with repainted mats and frames had slipped, severely marring the pastel surface. 

 

Our project aimed to make the pastels safe while retaining the original frames, mats and glass. We believe separating a work of art from its original presentation diminishes its value. 

 

Summary of framing materials and techniques:

• Volara adhesive backed strips to seal and cushion the original wavy glass.

• Framers tape to seal the original wood frame rabbet.

• Stainless steel headless pins to attach toned balsa wood spacers.                

• Coroplast for backings to seal the frame package.

• Archival grey corrugated board to make sink mats.

• Microclimate intercept film to isolate acidic materials.

• 415 (3M) doublesided adhesive tape to attach mat board spacers.    

• Wood strips screwed to the frame back to create extra depth.

 

Supplies:

 

Corrugated single wall archival board

Corrugated double wall archival board

Corrugated cross direction archival board

4 ply 100% rag museum quality mat board

2 ply 100% rag museum quality mat board

Archival fluted polypropylene backer “Coroplast" (4mm. thickness)

2 inch OZ clips

Phillips flat head steel wood screws #6 x 3/8

Stainless steel headless pins (.036 by 1/2 inch size) - Benchmark Catalog prod. #21-113

Microclimate Intercept (barrier film) cat. # 034‑3650

Adhesive Backed Volara Polyethylene Foam (1/8, 1/4 or 1/2 inch width)

3M 3125B Protective Film "glass skin" (6 or 12 inch width) [Note: This product is not marketed to use as a protective film for temporarily attaching to the glass of framed works of art.]

Frame Sealing Tape (1 1/4 inch width) blue/grey color

3M 415 double‑sided acrylic adhesive tape

Ethyl Alcohol 200 proof ACS/USP grade

Cotton knit cloths (prewashed)

Precipitated calcium carbonate

Dry cleaning sponges

Absorene Book and Print Cleaner

Balsa wood

        

Tools:

Fletcher brand "Frame Mate"

Heavy weight straight edge