treatment in progress…

before treatment (VIS)

  • title Road to Brakkeput

    artist Suzanne Perlman

    date 1951

    material oil on hardboard

    dimensions 121 × 121 cm

    owner Stedelijk Museum Amsterdam

  • deformations in the hardboard support due to water damage

    tidelines and stains on verso

    fibre loss and tears along the edges

    small puncture holes

    flaking paint and lacunas

    yellowed varnish with embedded dirt

    surface dirt

  • goal to address structural issues, a crucial undertaking aimed at preventing additional harm to both the paint layer and hardboard, and to enhance the visual appeal by mitigating disruptions within the composition

    1. Dry surface cleaning

    2. Paint consolidation

    3. Unframing

    4. Consolidation of delaminated hardboard edges

    5. Flattening the hardboard deformations

    6. Surface dirt removal

    (to be continued)

    Thorough documentation of both the technical examination findings and the treatment outcomes will be meticulously carried out.

  • initial condition (VIS)

    initial condition (VIS)

  • initial condition recto (raking light)

    initial condition recto (raking light)

    in red

  • initial condition verso (VIS)

    initial condition verso (VIS)

    mechanically removed with a scalpel

  • initial condition of verso (raking light)

    initial condition of verso (raking light)

  • initial condition (UV)

    initial condition (UV)

  • Perlman seated next to the painting

    Perlman seated next to the painting

highlights

Local delamination and loose fibres along the hardboard edges risked further damage during handling, so consolidation was required before continuing with the treatment.

The edges were pre-wetted with demineralised water and consolidated using 3% and 5% Benecel A4C. Silicone-coated Melinex and blotter were placed on both sides of the board, and the edges were gently clamped for one to two hours. A clamping system ensured secure alignment during drying. Consolidation was carried out on both the verso and recto.

top right: before treatment, bottom right: after treatment, left: consolidation clamping system

Before the flattening treatment, the condition and surface phenomena of the painting were thoroughly documented and photographed, enabling precise monitoring of any changes. To assess the overall planar deformation of the support, measurements were taken at multiple points across the painting.

Two identical blocks were placed on either side of the artwork, supporting a wooden bar positioned above the surface (right image). Using measuring tapes, the blocks were aligned and then shifted in 10 cm increments along both edges. The results were logged in Excel and visualised as a deformation map showing the highest and lowest areas on the verso (left image).

Left: The measurements (mm) represent the vertical distance between the surface and the bar. Their value lies mainly in relative comparison rather than in absolute accuracy. The diagram visualises the deformation pattern: dark red areas indicate the highest points of the surface, whereas light pink areas indicate the lowest points.

To reduce planar deformations without introducing moisture or heat, a gradual mechanical flattening approach was selected. The painting was positioned face-up throughout the treatment to ensure continuous monitoring of the paint layer and avoid placing fragile areas under tension.

A layer of silicone-coated Melinex was placed over the paint surface to prevent adhesion. On top of this, a 1 cm PE foam sheet provided cushioned yet supportive contact with the impasto. A small additional foam piece reinforced the most vulnerable corner. A rigid 122 × 122 cm plywood board was then placed above, followed by evenly distributed weights.

An overnight test already showed measurable reduction of deformation at two points, while paint cohesion, impasto, craquelure and edges remained stable. The treatment was continued under close observation. Over the following weeks, gradual flattening occurred, particularly at the central bulge. Once progress reached equilibrium under the plywood alone, additional weight was applied. No negative effects on the paint layer have been observed to date. The treatment is ongoing; if results plateau again, moderate heat (e.g. a heated silicone mat) may be considered.

Set up for the deformation treatment:
1: Place the painting face up on a soft support.
2: Place silicone-coated Melinex on top.
3: Add 1 cm PE foam, plus additional pieces if needed to better distribute the load.
4: Carefully place the plywood board on top.
5: Add additional weights evenly across the surface.