ACE Conservation Team Reaches New Heights!

Rikke Foulke, ACE Senior Painting Conservator

Conservator, Rhonda Wozniak, touches the ceiling murals in Saint Nicholas Croatian Catholic Church, painted by Maxo Vanka in 1937-41.

Conservator, Rhonda Wozniak, touches the ceiling murals in Saint Nicholas Croatian Catholic Church, painted by Maxo Vanka in 1937-41.

Through the efforts of the Society to Preserve the Millvale Murals of Maxo Vanka and funding the Pennsylvania Historical and Museum Commission Keystone Planning Grant and the Heinz Endowments, Art Conservation Etc. (ACE) conservators will complete a survey of the upper murals at St. Nicholas Croatian Catholic Church in Millvale, PA. The upper murals cover approximately 2,740 square feet. The ceiling murals max out at a height of approximately 38ft, which requires a hydraulic lift for their examination.

The murals are heavily soiled with post-industrial age soot and dust. The paint layers also exhibit scattered areas of loss due to salt formation on the surface of the plaster beneath. Salt formation, or efflorescence, occurs as a result of moisture moving through the plaster substrate, forming salts on the surface as it evaporates.

One goal of the survey is to perform cleaning tests on various sections of the murals. This small lamb (below) is in the lower right corner of the New Testament mural in the southern transept. 

The lamb appears dull and dirty due to the decades of deposits on the surface.  The surface is initially dusted prior to cleaning and a LOT of dust lifts easily! The images below feature the lamb before treatment (left), after treatment (center), and samples of cleaning swabs (right).

Rikke Foulke, Lead Conservator, taking a closer look at the gilded background of Luke.

Rikke Foulke, Lead Conservator, taking a closer look at the gilded background of Luke.

Led by Rikke Foulke, ACE Senior Paintings Conservator, all of the murals in the lower registers and entry were previously conserved by ACE intermittently over the past nine years. Team members consist of local professionally trained conservators: Ana Alba, Patricia Buss, Cynthia Fiorini, Patty West, and Rhonda Wozniak.

Rikke’s team has a diverse background with each member contributing skills from their area of specialization. Rikke has worked in museums all over the world, including the the Lenbachhaus in Munich, Germany and the National Gallery of Art in Washington, D.C. She has also published research on the effect of nanoparticles on the stabilization of the plaster walls of the murals in several publications: "Nanoparticles for stabilization of salts in St. Nicholas Church, Pittsburgh, Pennsylvania." AIC Paintings Specialty Group Postprints. Vol. 25 2013. Indianapolis, IN. and "Nanoparticles for stabilization of salts in St. Nicholas Church, Pittsburgh, Pennsylvania." Salt Weathering on Buildings and Stone Sculptures. I. Ioannou and M. Theodoridou, eds. Limassol: University of Cyprus, 2011. 275 – 282. Print.

Her work reducing the salts and stabilizing the plaster with nanoparticles will continue in areas of the Old Testament mural post survey when Phase II of the conservation efforts are underway.

A packet of the aluminum leaf found in Maxo Vanka’s studio

A packet of the aluminum leaf found in Maxo Vanka’s studio

Patty West, ACE Senior Objects Conservator, who has a considerable amount of experience on oil and water gilding/leafing, has identified Vanka’s application of leaf in the backgrounds of Matthew, Mark, Luke and John, as oil-based.  Fortunately, the oil preparation results in a durable surface. The conservators hope to apply XRF analysis to confirm the identity of the leaf as aluminum. Supporting evidence was found by the granddaughter of Maxo, Marya Halderman, when she discovered several packets of aluminum foil in the artist’s studio.

The Team also includes: Ana Alba, ACE Paintings Conservator; Patty Buss, Paintings Conservator; and Rhonda Wozniak, ACE Senior Objects Conservator .

ACE Paintings Conservator, Ana Alba, performs cleaning tests on murals in the choir loft.

ACE Paintings Conservator, Ana Alba, performs cleaning tests on murals in the choir loft.

Ana Alba has extensive experience with modern materials and newly developed cleaning methods. She expertly applies her skills to finding a safe solution to work with these fragile surfaces.

Patty Buss, inpainting guru, and true artisan, brings mural conservation experience from her years at the Conservatorio di Santa Maria degli Angiolini. She applies her pastel palette judiciously in areas of loss to make them magically disappear.

Rhonda Wozniak is comfortable at heights, and fearlessly leads the way up with the lift to access the ceiling, as seen in the image at the top of this blog. Also, through Rhonda's contacts in researching metal artifacts, she has introduced an analytical team which will carry out XRF and other analytic techniques on some of the materials used in the murals.

Our experienced conservators have been trusted with the preservation of valuable works of art in museums both locally, and throughout the world.  ACE Conservators are excited to bring their talents together to find the best solutions to preserve local Pittsburgh treasures, such as the amazing murals of Maxo Vanka.

Special thanks goes to the Society to Preserve the Millvale Murals of Maxo Vanka, who since 2009 have raised more than one million dollars for the lighting and ongoing preservation of the murals. Many thanks to Pennsylvania Historical and Museum Commission Keystone Planning Grant and Heinz Endowments for their generous support of this project.

To support to the ongoing fundraising campaign for this project or to schedule a docent-guided tour, please visit the SPMMMV website: vankamurals.org/donate or click on the button below.

Treatment of a 19th Century Russian Icon

ACE Conservators Rhonda Wozniak, objects conservator, and Ana Alba, paintings conservator, joined forces to complete the conservation treatment of the Mother of Kazan, a mid-nineteenth century Russian icon. This treatment highlights the benefits of collaboration in our studio, due to the often multi-media nature and complex construction of works of art.

Construction: The icon consists of a wooden support, onto which decorative silver, fine metalwork, and enamel has been applied. The panel appears to be traditionally constructed and primed with a white gesso, a mixture of rabbit skin glue and calcium carbonate, in the areas of the painted features.  The facial features and hand were then applied over areas of gesso in thin layers of oil paint.  The remainder of the panel is concealed beneath a revetment of decorative silver, brass and enamel work. In order for the metal work to be safely cleaned, the revetment was removed for treatment by Rhonda, leaving the panel and painted portions to be treated by Ana.

Before Treatment image of the Mother of Kazan

After removal of the silver, brass, and enamel revetment, revealing the surface of the wooden panel, gesso, and painted portions of the icon

After removal of the silver, brass, and enamel revetment, revealing the surface of the wooden panel, gesso, and painted portions of the icon

The revetment was found to be a combination of three different layers. The image below illustrates the order in which the metalwork was layered. The decorative outer perimeter consists of floral relief repousse/chasing and cloisonné enamel work on raised halos and corners. The robes of the figures are comprised of fine brass filigree with granular decoration (center). The filigree is folded to mimic folds in the subject’s cloths and lends a three dimensional appearance to the figures.

A layer of crimped aluminum foil, cut to the shape of the Mother and Child, was found beneath the filigree layer. The foil is visible through voids of the filigree. The foil layer is believed to be a replacement for a possible tarnished silver layer.

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Red/brown velvet on the reverse and sides of the icon support.

Red/brown velvet on the reverse and sides of the icon support.

Condition: The panel was in generally good condition and had remained planar over time.   The painted portion was in stable condition aside from a Y-shaped crack in the area of the mother’s face.  There are also fine cracks in the horizontal direction across the mother’s neck and the child’s neck areas.  A conservative cleaning test indicated a heavy layer of tar and nicotine on the surface of the metalwork and paint layers. There was also a heavy buildup of dust and old polish residues in the interstices of the metalwork and a heavy tarnish layer on all areas of silver.

The reverse of the panel is concealed behind an original thin layer of red/brown velvet. The velvet layer is exceptionally fragile and exhibits compound tearing along the top edge.

Treatment:

Dust and polish residue, on the recto and verso of the revetment, were reduced with soft natural bristle brushes into a HEPA filtration vacuum. Based on solubility tests, it was necessary to first reduce heavy tar and nicotine deposits on the solid metal surfaces with cotton swabs lightly dampened in an alcohol-based solution. This also served to minimally reduce tarnish. At heavier tarnish deposits, a light slurry of precipitated calcium carbonate was used. Residue was then cleared with swabs dampened in alcohol, and soft bristle brushes/HEPA vacuum to ensure removal from interstices. The images below feature the bottom and top edges during treatment.

Painting conservator, Ana Alba, inpainting areas of loss.

Painting conservator, Ana Alba, inpainting areas of loss.

The cracks in the gesso on the panel support were stabilized using locally applied isinglass. The surface was then dusted using a soft brush and cosmetic sponges to entrap the heavy dirt layer. The nicotine and tar layers were reduced using an aqueous solution. The discolored varnish was further reduced using a solvent solution without affecting the paint layer beneath.

Conservation grade, stable and reversible materials were chosen to fill and inpaint the wide cracks on the surface of the painting. In order to protect the fragile velvet layer with minimal intervention, a woven silk conservation fabric (Crepeline) was used as a loose-lining fabric (see below). The silk was wrapped around the reverse and sides. The fabric’s only points of attachment are on the front surface of the panel, and avoids the use of adhesives on the fragile material. The silk offers support and protection to the velvet while allowing it to remain visible.

After the conservation of painted portions were complete, the revetment was reattached to the surface of the panel. Various options for replacing the aluminum foil layer were explored with the client. The client chose to replace the aluminum foil with the same. In lieu of a thin sheet of foil, however, a thicker sheet aluminum was sourced that would not crimp and/or tear. The metal was cut to fit, and the edges of the underside that would be next to the painted surface were smoothed to prevent abrasion.

The treatment of the icon led to the appreciation of the masterful use of silver, enamel and filigree by the conservators and owner alike. The conservation highlights the beauty of the object and skill of the artist while maintaining its patina and does not compromise the intended visual integrity. Constant communication between the conservators involved allowed a certain balance to be maintained between the layers, integral to the treatment of such a unique and complicated work of art.

It's A Beautiful Day In The Neighborhood

ACE objects conservator, Rhonda Wozniak, is responsible for the yearly maintenance and bimonthly inspections of the Tribute to Children, aka the Fred Rogers Memorial on the North Shore of Pittsburgh.

While on-site, she has experienced the most touching displays of reverence and affection for Fred Rogers. This sculpture is truly loved by all—young & old alike. We are proud to be a part of its preservation for present and future generations to enjoy.

With the release of the film, A beautiful Day in the Neighborhood, we thought we would share some of Rhonda’s heartwarming stories and visitors at the sculpture.

Rhonda Wozniak conserving the Tribute to Children bronze sculpture by Robert Berks

Rhonda Wozniak conserving the Tribute to Children bronze sculpture by Robert Berks

Sometimes when I arrive on site with my crew, we find items that people have left at the sculpture. One day, we came upon this glass pillar cathedral candle in his hand. When we looked more closely, we saw that it read “Please Help Canonize Fred Rogers.”

Another day, we found these “kindness stones” with a beautiful note that a young girl had left on her birthday. The note read, “For my Birthday, take a stone of KINDNESS and share them with a neighbor.”

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Then, there is this Mr. Rogers/Steeler fan, who told us that he visits the sculpture every year on his birthday to share a “cigar” with Fred. Now that he has stopped smoking, he has traded the cigars for pretzel rods.

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Here is another fan that visits just to be close to Mr. Rogers because he was special to her as a child. Note her “You are Special” t-shirt.

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And, of course, children love him too (well almost all of them).

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And, we can’t forget the puppies.

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Personally, my favorite visitor was Mrs. Joanne Rogers herself!

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We hope that you enjoyed some of the fun we’ve had taking care of one of Pittsburgh’s most treasured neighbors.

Treatment of the Portrait Miniature of Ebenezer Denny

Ana Alba, Alba Art Conservation LLC Nicole Lauletta, Registrar at the Heinz History Center Rhonda Wozniak, Rhonda Wozniak Objects Conservator LLC

ACE conservators, Ana Alba and Rhonda Wozniak, recently treated a portrait miniature from the collection of the Heinz History Center. Portrait miniatures are unique works of art, requiring specialization in the conservation of both painted surfaces and decorative arts.

The portrait, by James Peale, features the bust length portrait of Ebenezer Denny (March 11, 1761 – July 21, 1822), the first mayor of Pittsburgh. There is a faint signature and date of 1792 inscribed in the background above the sitter’s proper left shoulder (see detail right).

As typical with other portrait miniatures of the same time period, the painting is executed in water-soluble media on a thin ivory disk, and housed within what is likely a rose gold plated case. Traces of goldbeater’s skin, used to secure the ivory within the case, remain visible around the perimeter of the painting and reverse of the ivory support.

Miniatures were also commonly glazed with a convex piece of glass, secured onto the surface around the perimeter of the case by burnishing into place or with an added bezel. The glass lens of this case is missing.

The losses along the bottom of the miniature and corrosion products in the adhesive around the perimeter, indicate likely previous water damage, caused by condensation build up along the bottom edge between the surface of the painting and the original glass lens.

The reverse of the ivory support exhibited remnants of an old paper backing and goldbeater’s skin, used to secure the disk into the metal case (see right).

The conservation treatment of the miniature and case presented a challenge, due to the multimedia nature of the object and fine craftsmanship of the portrait. Ana Alba, of Alba Art Conservation LLC, carried out the conservation of the painted surface and ivory support, while Rhonda Wozniak, of Rhonda Wozniak Objects Conservator LLC, carried out the conservation of the metal case.

The ivory support and original paint layers were in relatively good condition, aside from the paint losses and discoloration around the perimeter of the surface. Treatment goals included loss compensation of the paint layer and removal of old backing materials from the reverse of the ivory support.

Inpainting losses was carried out under magnification, using media that would not disturb the original water-soluble paint layers and remain reversible over time. The adhesive on the reverse was also pared down to facilitate re-attachment of the ivory into the metal case. Remnants of the old adhesive were left on the surface and reverse as vestiges of the original attachment methods.

While Ana Alba worked on the painted surface and ivory support, Rhonda Wozniak worked on the metal case. The metal case was dusted with a soft bristle brush to remove dust and loose deposits. All parts were cleaned with both ethanol and odorless mineral spirits on cotton swabs to reduce both polar and non-polar deposits. Light oxidation and corrosion products at the interior of the case walls were sufficiently reduced in this manner. Further, more abrasive measures such as polishing to address the darker discoloration related to the adhesive on the verso of the painting, were avoided in order to retain extant plating. Surfaces were lightly buffed with a soft microfiber cloth.

After consulting with ACE conservators, Heinz History Center staff decided to obtain a replacement glass lens for James Peale’s miniature portrait of Ebenezer Denny and remount the painting in its rose gold case. At some point, before donation of the miniature to the History Center, the original glass lens was lost. Miniatures of the late 18th century were customarily outfitted with a shallow convex glass lens held in place by a burnished bezel or case edge. Reframing the miniature in this way will contribute to its long-term preservation, protect the wafer-thin ivory disk from warping, and shield the painted surface from damage.

 

Staff contracted the Wiebold Studio in Terrace Park, Ohio, outside Cincinnati, to perform the glass fabrication and reframing. Wiebold Studio has been in the conservation and restoration business for 75 years and has specialized in portrait miniatures for more than 50 years. They are one of the few studios in the country with expertise in this specific field.

 

Wiebold Studio created a custom convex glass lens specifically for the Denny miniature. The studio’s glass fabricators work with 1.25 mm-thick glass. The glass is heated and slumped in a kiln at a specific temperature, and then placed over a wire frame that exceeds the diameter of the miniature’s case. Once the lens is slumped, the edges are ground with a wet grinder to the exact dimensions needed for the miniature’s case. The edge of the lens is polished into a bevel so that it fits snugly inside the case’s edge which functions as a bezel. The custom lens is then set into the case using a burnisher to smooth the frame’s metal edges. Remarkably, the more than 200-year-old case was in good enough condition for the custom lens to be set in the case without issue.

 

After the methodical research and meticulous work done by ACE conservators Ana Alba and Rhonda Wozniak and the Wiebold Studio, the James Peale miniature of Ebenezer Denny is wonderfully conserved and safely mounted within its case. This small object illustrates the attention and care needed to prepare artifacts for exhibition and preserve them for the future. 

 

Many thanks to Carol Aiken, conservator of portrait miniatures, for her expertise and consultation.

Image courtesy of the Senator John Heinz History Center, Gift of Louise E. Denny Barnes, 2017.132.1. Before Treatment

Image courtesy of the Senator John Heinz History Center, Gift of Louise E. Denny Barnes, 2017.132.1. Before Treatment

 
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Courtesy of the Senator John Heinz History Center, Gift of Louise E. Denny Barnes, 2017.132.1. Before Treatment image taken by Alba Art Conservation.

Courtesy of the Senator John Heinz History Center, Gift of Louise E. Denny Barnes, 2017.132.1. Before Treatment image taken by Alba Art Conservation.

 
Courtesy of the Senator John Heinz History Center, Gift of Louise E. Denny Barnes, 2017.132.1. Before Treatment, Reverse. Image taken by Alba Art Conservation.

Courtesy of the Senator John Heinz History Center, Gift of Louise E. Denny Barnes, 2017.132.1. Before Treatment, Reverse. Image taken by Alba Art Conservation.

 

Courtesy of the Senator John Heinz History Center, Gift of Louise E. Denny Barnes, 2017.132.1. Side view of encased portrait miniature with new convex glass lens.

 
Courtesy of the Senator John Heinz History Center, Gift of Louise E. Denny Barnes, 2017.132.1. After Treatment photograph mounted in frame with new glass lens.

Courtesy of the Senator John Heinz History Center, Gift of Louise E. Denny Barnes, 2017.132.1. After Treatment photograph mounted in frame with new glass lens.

The miniature is featured in the Heinz History Center’s upcoming exhibition, Smithsonian’s Portraits of Pittsburgh: Works from the National Portrait Gallery. The exhibition will include original paintings, sketches, prints, and photographs from the National Portrait Gallery that showcase more than 100 Americans with Western Pennsylvania connections and incorporates select paintings and artifacts from the Heinz History Center’s collection.

Welcome!

This blog was formed to feature the independent and collaborative work of ACE Conservators of Pittsburgh. Our conservators routinely work together to complete the conservation treatments of large and/or multimedia works of art. Visit this blog and our Facebook page at https://www.facebook.com/Art-Conservation-Etc-ACE-Conservators-of-Pittsburgh-2337183642979156/?modal=admin_todo_tour to find out more about our projects and talented conservators.