The procedure of wax-resin linings by the painting restorers Johannes Albertus Hesterman (1848-1916) and sons

Oudheusden, Saskia van

doi:10.4000/ceroart.4081

Cited by 4 publications

(3 citation statements)

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“…traditional wax-resin adhesive, for the attachment of the new canvas patch onto the plywood board. Although this paper doesn't question the disrepute of this material in general, the reasoning for its selection was guided by several benefits which, in this particular case, have outweigh the primary drawbacks of the material (Hackney 2013: 437;Oudheusden 2014). Namely, due to the relatively large dimensions of the loss (i.e.…”

Section: Discussion -Methods and Techniquesmentioning

confidence: 99%

“…The application method, that included heated surface pressure imposed from the front side of the painting, has left a visual mark on the authenticity of the paint layer. Namely, besides the question of altered tonal values (Oudheusden 2014), the area around the perimeter of the major loss seemed evidently flattened than the rest of the painting surface. This kind of treatment changed its texture and the features of all original materials irreversibly.…”

Section: Documenting and Registering The Surviving Attributesmentioning

confidence: 95%

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Recovery of a vandalized canvas painting our Lady of the Rosary from Vrlika (Croatia)

Šustić

Rezic²,

Cvetković

2020

GEC

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This study is related to the major recovery project of an 18th century oil painting on canvas depicting Our Lady of the Rosary, the patron saint of the parish community of Vrlika and its surroundings. During the Croatian War of Independence in 1992 it was taken off the main altar and vandalized by the paramilitary units. This resulted in termination of a century long tradition of annual feasts in Vrlika in which the painting was publicly displayed and carried by the townsmen. Based on the available visual materials: a high resolution old black and white photograph and the low resolution coloured one, respectfully, using the computer colorization algorithm, and also relying on detailed visual analysis of the original paint layer, a major reconstruction was carried out in 2017. This research has demonstrated that the recovery of the artworks with dramatic losses is an extremely complex social phenomenon difficult to characterize by any general factor or based on any general approach.

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Section: Discussion -Methods and Techniquesmentioning

confidence: 99%

Section: Documenting and Registering The Surviving Attributesmentioning

confidence: 95%

Recovery of a vandalized canvas painting our Lady of the Rosary from Vrlika (Croatia)

Šustić

Rezic²,

Cvetković

2020

GEC

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“…The wax resin adhesive was also used for securing paint layers and attaching strengthening strips of canvas, as well as consolidating and creating a moisture barrier on the reverse of wood supports and for transferring the paint layer from wood support to canvas. 1 The wax resin adhesive usually consists of natural or bleached beeswax and natural resin in various proportions. The traditional recipe (Hopman Jr., Hesterman) contained, by volume, 4 parts beeswax, 3 parts rosin, and 2 parts Venetian turpentine.…”

Section: Introductionmentioning

confidence: 99%

Nanocomposite Organogel for Art Conservation─A Novel Wax Resin Removal System

Kaniewska

Pilecka-Pietrusińska

Karbarz

2023

ACS Appl. Mater. Interfaces

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We describe a new, safe, and effective method for removing wax resin adhesive from the canvases of paintings conserved by the once widely used Dutch Method, which involved attaching a new canvas to the back of a painting using an adhesive made of beeswax and natural resin. First, a low-toxicity cleaning mixture for dissolving the adhesive and removing it from the canvases was developed, and then a nanocomposited organogel was obtained. The ability of the organogel to remove the adhesive from canvases was investigated on the lining of the 1878 painting “Battle of Grunwald” by Jan Matejko, with promising results. Additionally, we found that the organogel can be used several times with no visible loss of cleaning ability. Finally, the effectiveness and safety of the method were confirmed on two oil paintings (one from the National Museum in Warsaw): all the wax resin adhesive was removed and the painting regained its original brightness and vivid colors.

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Wax resin lining techniques: Edson Motta’s training at the Fogg Conservation Center and its adaptation to the Brazilian reality

2020

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After Edson Motta’s graduation from the Fogg Conservation Center, his experience contributed to the practice of conservation in Brazil through the introduction of new materials and the technique of wax-resin lining. However, this technique has drawbacks when applied in a country of tropical climate and few resources. It is important, when considering the use of this approach, to be mindful of the conservator’s historical role, which can reveal why this technique was, very likely, the best choice for the conservation of the vast patrimony of canvas paintings in Brazil.

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The procedure of wax-resin linings by the painting restorers Johannes Albertus Hesterman (1848-1916) and sons

Cited by 4 publications

References 0 publications

Recovery of a vandalized canvas painting our Lady of the Rosary from Vrlika (Croatia)

Recovery of a vandalized canvas painting our Lady of the Rosary from Vrlika (Croatia)

Nanocomposite Organogel for Art Conservation─A Novel Wax Resin Removal System

Wax resin lining techniques: Edson Motta’s training at the Fogg Conservation Center and its adaptation to the Brazilian reality

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