Issue 38 Summer web 23 - Flipbook - Page 48
Firstly, all loose dirt was removed with dry brushes, in
conjunction with a vacuum cleaner to prevent the dirt
re-locating. More intransigent dirt was then removed
using sponges/cloths/cotton wool and water, with the area
dried thoroughly immediately after treatment. The
varnish was surface treated with ammonium hydroxide
solution and the upper layers of varnish were carefully
scraped back by hand using a scalpel blade. Acetone:
Benzyl alcohol 4:1 in a gel with appropriate dwell time
was then used to remove lower levels of varnish with cotton swabs [Fig 3]. Trials to remove the varnish highlighted
that significant touching up had taken place over the
years between varnish layers and removal of the varnish
would also remove later added layers of paint. This meant
that careful and selective touching up of the original panels needed to be carried out prior to the final application
of a modern conservation grade varnish.
to bring the beams back to their full former glory and
additional funding was sought from the Council to
thoroughly clean the beams and, more importantly, to
recruit local people onto paid work placements to support
the conservators. This approach allowed the team to
reduce costs whilst providing additional training and jobs
in the local area. Through existing relationships with the
local college, the team were able to recruit 8 art and
design students for approximately 16 weeks to work
alongside the conservators. From this initial period 4 of
the volunteers were recruited to continue to work with
the conservators until the end of the project and 1 student
was given a permanent position. [Fig 4]
by Rebecca Mills, Donald Insall Associates
Client: Rochdale Council
Project Manager: Rochdale Development Agency
Lead Consultant and Architects: Donald Insall
Associates
Cost Managers: Frank Whittle Partnership
Structural Engineers: Price and Myers
MEP Engineers: Max Fordham
Exhibition Designers: Redman Design
Landscape Architects: Gillespies
Main Contractor: HH Smith
Specialist Conservator: Hirst Conservation
Whilst the decoration to the plaster panels was known to
the team, the decorative scheme to the beams was found
to be much more extensive than originally assumed, as
the varnishes had darkened to such an extent that the
details of the stencilling beneath were all but obscured.
Paint analysis found the painted decoration on the timber
to be original and trial removal of the varnish revealed
intricate painted and gilded designs such as the red rose
of Lancashire and budding, leafy trails, sat alongside a
variety of other patterning. The team saw an opportunity
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Conservation & Heritage Journal
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