Help with an OOOOld Pastel

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Danimal

Danimal

CGF II, Certified Grumble Framer Level 2
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Nov 8, 2005
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Lawrenceville, GA
I had a customer bring in a very old pastel still life and wanted it re-matted and new glass. The old glass was very fogged over the grapes and it was flaking very badly in this one area.
I don't have a lot of experience with pastels so was wondering if anybody can help me figure out how to stabilize the remaining color to stop the flaking. There is only sentimental value to the piece as it was made by the customers Great Aunt about 50 years ago.
Can anybody help?

Thanks!
 
I guess I'm not sure what you mean by "stabilize the remaining color," but if you mean prevent as much as you can from falling off, then Krylon (or other brand) Workable Fixative spray would be what I would use. I use this on my pastel paintings when layering. It solidifies the lower layer and allows more application. Some artists use it at the conclusion of painting to stabilize the entire image.

A few words of warning ...

1) It can slightly change the color. Usually a little darker and "duller." Some people find it unnoticable, some find it objectionable. If using it, spray the entire piece NOT just one area.

2) Make sure there is plenty of ventilation. The stuff is toxic.

3) Start the spray OFF the image and move over the image. This minimizes the potential for a blotchy spot.

4) follow directions on can ... I usually spray from about 10 inches away with the painting on an easel and let a light mist strike the painting. Some artists lay the painting flat and spray into the air about a foot above the painting. The idea is MIST it. A second application is better than soaking it!

Hope that helps
 
Since the binder in pastel is minimal, the
pigment that comprises the design is free to
come loose. Contact or static can accelerate this
process so use of low or no static glazing is
important. Glass has low static potential, but
it is fragile. Static dispersive acrylic sheet
has no static and can be found with anti-
reflective coating and UV filtration (Tru Vue
Optium), but that material is rather costly.
Keeping the design away from the glazing and
reducing the static potential are the best
ways to avoid future transfer.


Hugh
 
The best answer is a conservator. Whether it is monetary or sentimental, value is value.

If that is out of the question, I would recommend a local pastel artist who would be willing to apply new pastel over the old.

In any case I would not modify the pastel, because that is work I am not qualified to do, and I will not accept responsibility for the risk of damaging it further.
 
I suspect you know this, but I would put at least one mat as a spacer between the top mat and the art to "catch" what pigment falls off. Even sprayed, some will fall off and this minimizes the mess.
 
Originally posted by Jim Miller:
If that is out of the question, I would recommend a local pastel artist who would be willing to apply new pastel over the old.
Click to expand...
Since I are one, I forget others aren't. Of course, Jim's is good advice
 
Thanks everybody for the advice. I think the conservator approach is the wisest move. I was thinking about having the customer sign a release but I seem to remember somebody here doing this and still having a problem when things didn't work out as planned. I certainly don't need any trouble like that.
 
Here is what the International Association of Pastel Societies says about Pastel Conservation.

Go to the link for more reading...

http://www.bmi.net/knapp/iapsmerrill.html

http://www.bmi.net/knapp/iapsmerrill.html Most of the pastelists from previous generations used fixatives. Degas used fixatives. His favorite was alcohol and white shellac. Today there are a number of alternatives. Krylon Acrylic Varnish B72 is used by conservators. This product will remain unchanged for 400 years, but does have a tendency to saturate the surface. Grumbacher B77 varnish or "tough film" is the same as B72, but will not saturate. Krylon workable fixative and Sennelier fixative are both good products. One should stay away from Grumbacher's "blue label" fixative.
 
Originally posted by Jim Miller:
The best answer is a conservator. Whether it is monetary or sentimental, value is value.

If that is out of the question, I would recommend a local pastel artist who would be willing to apply new pastel over the old.

In any case I would not modify the pastel, because that is work I am not qualified to do, and I will not accept responsibility for the risk of damaging it further.
Click to expand...
Agreed, and- I would absolutely, positively not use a spray on a customer's work unless they were the artist and even then I prefer it if they do it themselves. It's not conservation if we are altering the work to make it fit what we want, sentimental or not. If the customer wants it conserved and then framed, it should be taken to a paper conservator.

When we mount pastels, we always add a slip mat that does not show under the main matting for loose pigment. This keeps the pigment off the mat and usually off the glass. Proper handling of the frame should keep it off the glass (Not flipped over on it's face while mounting/etc, and use of a nail puller to keep extra pressure off of the frame)
 
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