The Transfer of Wall Paintings

A detailed study of transferred wall paintings in Denmark, this volume explores historical techniques, materials, and the consequences of past transfer practices. It offers lessons and recommendations relevant to all conservators working with wall paintings today. Survey data available electronically after purchase.

The heyday of detaching and transferring wallpaintings is over, a result of shifting values in conservation and the development of solutions for in situ treatment. Transfers were carried out in the past for a number of reasons – some of which may seem frivolous or unethical today. The frequency with which transferring was resorted to reflects the prevailing attitudes and limited treatment methods at that time. The transfer of a wall painting is a difficult and risky operation that affects both the material characteristics and the incorporeal qualities of the painting. Numerous examples of the negative effects of this procedure have accumulated in many countries over the centuries and today we are left with a vast collection of misplaced, often homeless, paintings, many of which are in dire need of treatment. This volume presents a detailed study of the transferred wall paintings in Denmark. However, the material and case studies presented contain information of interest to all conservators and others working with wall paintings. While setting the historical development and theoretical aspects in context, the author also addresses in detail the various techniques and materials used in the course of the operations. In addition, the consequences of this drastic treatment are presented and illustrated by examples of damage. Recommendations for future treatments are discussed and the text is supplemented with a survey of wall painting transfers in Denmark, which will be sent to you electronically after purchase.

Acknowledgements Introduction The transfer of wall paintings as a treatment method Theoretical considerations and consequences Physical and chemical alterations Non-physical alterations The generation of collectors' items Exhibitions and homeless transfers Permanent museum collections Attitudes to the transfer of wall paintings Wall painting transfer techniques Phase 1 - Preparation The principle of using glues of varying solubility parameters Preparation of the surface The facing Counter-moulds Phase 2 - Detachment Detachment by the stacco a massello method Detachment by the stacco< method Detachment by the strappo method Phase 3 - Post-detachment Treatment of the back of the detached painting The intervention layer Mounting on movable supports Removal of the facing Installation and exposition of transfers on movable supports Mounting detached paintings in situ The development of transfer techniques in Denmark Murals removed from the wall by sawing Execution of the first strappo in Denmark Transfer of the paintings from Lund Cathedral The dissemination of Risebye's technique through his students Transfers executed by Risebye between 1942 and 1944 The transfer of Sonne's frieze in 1951-58 The transfer of the frescoes in the Central Library in Hjring The redevelopment project in Copenhagen The relocation of Steffanoni's transfer to Klaksvig Transfers executed by Egmont Lind Modern transfer techniques Transfer statistics Overview Reasons for the transfer of wall paintings in Denmark Transferred originals replaced by in situ replicas Major structural repair, or demolition of the building Poor condition of the painting Salt damage Poor adhesion of plaster Severe fragmentation Damage resulting from previous treatments Detachment to reveal an underlying painting Detachment due to inconvenient locations Overview Methods and materials used for transferring wall paintings in Denmark Surface treatment prior to application of facing Impregnation Cleaning Facing adhesives Facing carriers Detachment by the strappo method Detachment by the stacco method Detachment by the stacco a massello method Size of the detached fragments Treatment of the back Problems with deformation after detachment Impregnation of the back Backing Lining Intervention layers Movable supports Exhibition of movable supports Artificial boundaries of transfers Mounting of movable transfers in situ In-situ mounting of non-movable transfers Impregnation of the paint layer after completion of the transfer Overview The condition of the transferred wall paintings in Denmark The condition survey Types of damage noted Loss of paint layer Alteration of the surface configurations False texture imprints in the paint layer Residual facing adhesive Micro-organic growth Tone alterations and discoloration Superficial cracks Salt efflorescence Deformation of canvas supports Poorly constructed honeycomb supports Overview Focus areas for future projects Removal of hygroscopic facing adhesives Effective intervention layers 3-D digitising and stereolithography for the construction of supports Further treatment of transferred wall paintings Treatment of transfers mounted on canvas with oil caseinate Treatment of transfers mounted <
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with oil caseinate Residual facing adhesive The separation of the painting from the support Restoration of lost optical properties Restoration of lost surface configuration Conclusion Appendix Painting techniques of the transferred decorations in Denmark Historical background for wall paintings in Denmark Medieval wall paintings Frescoes Glossary Bibliography Unpublished reports and theses Index,

Acknowledgements

Introduction

The transfer of wall paintings as a treatment method

Theoretical considerations and consequences

Physical and chemical alterations

Non-physical alterations

The generation of collectors' items

Exhibitions and homeless transfers

Permanent museum collections

Attitudes to the transfer of wall paintings

Wall painting transfer techniques

Phase 1 - Preparation

The principle of using glues of varying solubility parameters

Preparation of the surface

The facing

Counter-moulds

Phase 2 - Detachment

Detachment by the stacco a massello method

Detachment by the stacco method

Detachment by the strappo method

Phase 3 - Post-detachment

Treatment of the back of the detached painting

The intervention layer

Mounting on movable supports

Removal of the facing

Installation and exposition of transfers on movable supports

Mounting detached paintings in situ

The development of transfer techniques in Denmark

Murals removed from the wall by sawing

Execution of the first strappo in Denmark

Transfer of the paintings from Lund Cathedral

The dissemination of Risebye's technique through his students

Transfers executed by Risebye between 1942 and 1944

The transfer of Sonne's frieze in 1951-58

The transfer of the frescoes in the Central Library in Hjørring

The redevelopment project in Copenhagen

The relocation of Steffanoni's transfer to Klaksvig

Transfers executed by Egmont Lind

Modern transfer techniques

Transfer statistics

Overview

Reasons for the transfer of wall paintings in Denmark

Transferred originals replaced by in situ replicas

Major structural repair, or demolition of the building

Poor condition of the painting

Salt damage

Poor adhesion of plaster

Severe fragmentation

Damage resulting from previous treatments

Detachment to reveal an underlying painting

Detachment due to inconvenient locations

Overview

Methods and materials used for transferring wall paintings in Denmark

Surface treatment prior to application of facing

Impregnation

Cleaning

Facing adhesives

Facing carriers

Detachment by the strappo method

Detachment by the stacco method

Detachment by the stacco a massello method

Size of the detached fragments

Treatment of the back

Problems with deformation after detachment

Impregnation of the back

Backing

Lining

Intervention layers

Movable supports

Exhibition of movable supports

Artificial boundaries of transfers

Mounting of movable transfers in situ

In-situ mounting of non-movable transfers

Impregnation of the paint layer after completion of the transfer

Overview

The condition of the transferred wall paintings in Denmark

The condition survey

Types of damage noted

Loss of paint layer

Alteration of the surface configurations

False texture imprints in the paint layer

Residual facing adhesive

Micro-organic growth

Tone alterations and discoloration

Superficial cracks

Salt efflorescence

Deformation of canvas supports

Poorly constructed honeycomb supports

Overview

Focus areas for future projects

Removal of hygroscopic facing adhesives

Effective intervention layers

3-D digitising and stereolithography for the construction of supports

Further treatment of transferred wall paintings

Treatment of transfers mounted on canvas with oil caseinate

Treatment of transfers mounted in situ with oil caseinate

Residual facing adhesive

The separation of the painting from the support

Restoration of lost optical properties

Restoration of lost surface configuration

Conclusion

Appendix

Painting techniques of the transferred decorations in Denmark

Historical background for wall paintings in Denmark

Medieval wall paintings

Frescoes

Glossary

Bibliography

Unpublished reports and theses

Index

• By (author) Isabelle Brajer

"...remarkable monograph about one of the major problems in the history of restoration...While focusing on Denmark, Brajer's comprehensive discussion and sound documentation offer well-informed theoretical and practical instruments in the safeguarding of the transferred wall paintings for other countries, too." Studies in Conservation 50(3) (2005) 239-240
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…remarkable monograph about one of the major problems in the history of restoration...While focusing on Denmark, Brajer's comprehensive discussion and sound documentation offer well-informed theoretical and practical instruments in the safeguarding of the transferred wall paintings for other countries, too.

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