Project Timeline

20 May 2011

Reinforcing the damaged tacking margins begins.  This type of treatment is known as strip-lining. The strip-lining will be under immense pressure when the canvas is re-stretched. It is essential that the strip-lining is strong enough to hold the canvas under tension, yet not too strong that it will cause weakness in other parts of the canvas.

06 May 2011

A design for a new temporary aluminium stretcher is developed. It is constructed off-site and assembled in the conservation studio.

01 April 2011

Work begins re-weaving the broken threads using gentle heat and a reversible adhesive that is strong enough to hold the tears yet flexible enough to cope with the tension and movement in the canvas.

04 March 2011

Some of the tears require extra material to mend and bridge the losses in the original canvas. Shaped inserts are prepared and woven in with the broken edges of the original canvas.

18 March 2011

Through planning and consultation amongst the conservation team, the strategy for tear mending is devised. The work begins on re-weaving the broken threads using gentle heat and a reversible adhesive that is strong enough to hold the tears yet flexible enough to cope with the tension and movement in the canvas.

18 February 2011

When all the patches have been removed the full extent of the structural damage to the canvas becomes apparent. Many of the old patches covered tears in the original support.

21 January 2011

Old patches on the back of the canvas and along the tacking margins continue to be removed. These patches, which are attached with a variety of adhesives, are made of a range of materials, from pieces of canvas to sheets of old newspaper. Conservators perform tests on the patches before removal to prevent any damage to the original materials during the treatment.

04 January 2011

The temporary strip, which was attached to the end of the painting, is removed now that the rolling is complete.

07 December 2010

The painting is unrolled in the conservation studio.

27 November 2010

Having been rolled onto the large custom-made cylindrical roll, the painting is then transported through the gallery and hoisted up to the conservation studio on a crane.