Even when they may seem simple, almost every treatment carried out in The Center's laboratory is a collaborative effort between different conservators and departments. This photograph, "Georg Heinrich Ramige" is a family antique and arrived in stable condition but with age-related issues. A reinforced photograph housed in an antique frame, this artwork was treated in three of our departments; Works of Art on Paper, Furniture, and Custom Framing and Display.
Georg Heinrich Ramige is the 3rd great-grandfather of Sue who brought the work to The Center for treatment. Georg Heinrich Ramige was born in January 1789 in Hatten, Alsace - an area in eastern France that borders Germany and Switzerland. Georg was married in Hatten, and emigrated to the U.S. with his family in 1829. Sue shared, “They settled for a time in Wayne Co., New York, where Georg was one of the founders of the Evangelical Church in Lyon. They moved west to Groveland Township, Illinois, a small community near Peoria. He died on December 6, 1867, and is buried at Zion Evangelical Cemetery in Groveland Township.”
The portrait was treated by Katrina Flores, Associate Conservator of Works on Paper. The picture was darkened and embrittled with age, with inherent age-related discoloration. Foxing was present on the piece and heavy water stains at the upper and lower right and the upper left. The left edge of the work exhibited a small tear from the brad nail. The piece also had a layer of surface grime with minimal mold present.
Before treatment
Verso, before treatment
Katrina began treatment by selectively surface-cleaning areas to reduce surface soiling with a textile sponge and soft brush on the recto. She then surface-cleaning the verso with a textile sponge. The water staining on the right-hand side of the piece was addressed locally and reduced mechanically. Once the staining was reduced, Katrina shared, "the areas where the water staining was reduced were compensated with pastels to blend the paper with the surrounding areas." The paper was also treated with a non-aqueous deacidification spray.
Detail of water stain before treatment
The frame - unlike the simple black-and-white portrait it holds - has many layers, textures, patterns, and colors. Made of wood, compo, toner, imitation gold, and imitation silver leaf, the frame also has a leafed sight liner with a red velvet quarter round. The liner was degrading and delaminating, and nearly 50% of the velvet liner was missing. There were losses to the compo at the miters and edges of the inner and middle frame, which is where Senior Conservator of Furniture Stephen Ryan got to work. After surface cleaning and stabilizing the compo, areas of the missing carving were replaced using molding materials. Where gilding repairs were needed, Steve applied silver leaf and toned it to match the surrounding areas.
Detail of compo losses to frame before treatment
Now ready for reassembly, the photograph and frame arrived at the Custom Framing department for skillful reassembly by Senior Conservation Framer Scott Dietrich. Scott shared, "The existing liner material, a red velvet fabric, was degraded beyond repair due to environmental exposure over the life of the piece. The decision was made with the client to replace the liner with a new custom-wrapped suede liner in a deep burgundy color to emulate the original. Fitting a new liner into an existing ornate frame from the 1800’s required creative solutions. Bendable mending plates and standard offsets were both used to keep the liner and the art safely and securely in the frame."
Scott documented the process of refitting the frame and the custom work needed with the mending plates. As he describes it, this frame is a "layer cake" of frames, one stacked upon the other with a liner between the two decorative elements of the frame.
Originally the non-UV filtering glazing was in direct contact with the photograph. During reframing, spacers were added to adequately separate the photograph from the new glazing - Museum Glass, a conservation grade, anti-reflective glass that protects against UV light rays. The non-archival and acidic backing was replaced with an acid-free 1/16" corrugated backing board attached to the reverse to provide additional protection. We often share how much we value the collaborative nature of our work and team. This treatment truly showcases the immense value of having so many talented experts under one roof.
After treatment
Verso after treatment
