The National Gallery’s Conservation Department, founded in
1946, initially occupied two converted exhibition rooms. Restoration
studios built specifically for this purpose were opened in 1959. In theory,
in-house restorers have carried out all the work on the collection since- In practice, the records show that during the early years, there
was still considerable structural work carried out by private restorers
(Morrill is the most often mentioned). In 1949 (as described below in
connection with balsa-wood buildup), Richard Buck came to the gallery
from the United States with new ideas on panel work and transfer. In
1965 the gallery was still inclined to the removal of original wood,
believing it would minimize the possibility of further movement; com-
plete transfer was sometimes considered. Treatments of various kinds
have been developed over the years, progressing to the present day. In
looking back, one can see that some of the conservation treatments
may not have been the most effective, although they were accepted prac-
tice at thetime. The author has supervised all the structural treatments
in the department since 1977.
This article contains a description of the methods used in the
National Gallery at present. Where relevant, old methods and materials
are discussed. As a general rule, every part of the original support is pre-
served whenever possible. Necessary treatments are designed to be as
easily reversible as possible. Old methods and materials of conservation
are not changed unless newones can be shown to be more satisfactory.
The best environment for panels is considered to be 55% relative
humidity (RH) at 21 °C; it is preferable to err on the side of higher, rather
than lower, humidity. It is best never to move panels from these conditions
if possible. The transport of panels from one country to another by air-
craft and the exposure to a different, usually drier, environment have been
prime causes ofmuch panel movement and subsequent deterioration.
Deterioration is even more pronounced if restrictive conservation has
been carried out first. The location (e.g., church, country house, museum)
of a panel greatly influences the types of treatment and materials neces-
sary to carry out the best conservation.
Animal infestation
Any suspicion of worm or beetle activity should be treated to prepare the
individual object for conservation, as well as to protect other objects from
infestation. Various forms of treatment (gassing, oxygen deprivation, or
liquid application) are suitable for particular problems.Surface consolidation
Sturgeon glue, normally diluted to an approximately 5% solution, is com-
monly used with controlled-heat spatulas for conserving loose or blistered
areas. Ifthis proves unsuccessful, one may have to use a different adhesive
to secure old flaking or impregnations. After surface consolidation of a
painting that has previously been restored, it is usually preferable, where
possible, to clean the painting to remove excessive fillings that might
impede structural consolidation. Surfaces can often be improved where
an old conservation treatment was not totally satisfactory.Present Conservation
Methods404 Reeve