Wallpaper

Treatment Approaches:
Wallpaper
Méthodes de traitement
Papier peint
a
a
The Effecfs of Qonservation on the Appearance
of Historic Wallpapers
T"K. McClintack
T.K. McClintock l-td.
Conservation of Fine Art and F{istoric Works on Paper
1 liitchburg Street C-219
Solnerville MA 021,13
USA
Tel.: (617) 666-9010
Atrstract
The condition and rppearance of historic wallpapers
can be jeopardized by a number of factors, including the
fragility of their materials, the vasl areas they cover, ald
the wide range of conditions to which they are exposed.
The development of their conservation as a specialty
acknowledges that they are indeed worthy recipients of
the extraordilary resources thal can be necessary to ailow
high standards of trea:ment. This paper highlights five
p;ojects that illustrate the range of damage to which
historic wallpapers can be subject, along with a vrrir'ty
of options lbr treatment. There is a particular fbcus
on what constitutes {he integrity of a room ol'historic
wallpaper, and how the appearance of a room that is
compromised by damage can be changed to highlight
that integrity. lrnprove:nents in appearance should
always be lbunded on improvements in condition
being the paramount concern, with connoisseurship
and craftsnanship directed to that end.
Introduclion
Odginal wailpapers make an inestimable contribution
to the credibility of historic inleriors. They reflect the
prevailing aesthetic sensibilities of al era and are often virtuoso demonstrations ol design and technical achievement.
Despite the priating of paltern and scenic wallpapers in
large editions and the production of many hald-painted
Chinese export works in multiple copies, rnany important
designs survive in only a few locations worldwide. I:t this
regard they achieve a singularity as graphic works alalogous to that of fare maslers' prit-tts.
works can also be brought to large-scale decorative arts,
and that historic wallpapers are worthy recipients of the
resource$ fhal make possible a high level of attention.
There already exists a large body ol informatinn about
paper conservation in general :rnd historic wallpaper
conservation in particular, the types of damage to which
they are sub.jecl, and the general procedures and options
for treatment. "Ihe aim of this paper is more finite: tcr
sxamine what constitutes the integrity 01'a room of historic
wallpaper ald how the appearance of a room compromised
by damage cal be changed ao restore thal integrity.
The larger conlexl in which historic wallpapers are displayed contributes to a clefinition ol their inlegrity. They
may survive in original dcmestic or public inslailalions, or
ir laler str.tctrres a:rd museum peiod rooms lo which they
have bee:i transfered. The roex may be one of nrany at a
site that has original wallpapers or the only ex:imple. li
may be a promineni public space, like a parlaur or ha1lway,
or a small intimate space such as a bedroom. Visitors may
be permitted entry to the room 1or close inspeclion or
confined to viewing from a doorway. Furnishings may be
comprehenlive and original, sparse, or from other venues
or periods of interpretation. Surlace finishes adjacenl to lhe
hlstoric wallpaper may be original, simulated, obscured. or
missing. ,And *inal1y, the wallpap*r rnay be compromised
by darrage that causes it :o diifer liam its original appearance-damage that may or may noi be reversible" In a
broad selse, the integrity of historic wallpapers is a function of ihe textur{r they lend lo an ilterior, their evidence
as long-1ived and geluine hisloric surlaces, and the associ-
aiions they bring to an audience by their presence. ln a
mor$ rarrow and compelling explication, their integrity
lies in :hem being exemplars and critical coxponents of
historically accurate design schemes, whelher as grand
cenlrepieces of attentior or as humtrle backgrounds.
Xistoric wallpapers are particularly challenging suhjects
for conservalion because of the fiagiie materials rsed il
Historic wallpapers can sufl'er from numerous types of
damage that ccmpromise their legibility" Walls to which
their ma:rufact:rre, the vast surface areas sr:bject to deterioration, and the imperative that such large projects be both
rnanageable tr; lund and effective in improving cnndition
and appearance. The developrnent of their conservation
intc an area of sper:ialty reflecis an appreciation that the
same standards uf treatment broushf to small fine art
they were mounted may hecome iasecure. Papers on which
they were printed or pailted r:ray weaken as a result of the
materials used in their manr"lfacture. delach fiom the wall
surface in large or small areas, or reveai planar distortions,
tears, or losses. Design medi:r may exhibit fading, cleavage, or lass liom abrasiol rx-insecure adhesion. Staining
Preprirts of Symposiurn
20(X)
79
may result frtrr the aging ril'a paper, exposure, w,iler
damage. r:r lhe deposition of'surl'ace gli*re. Ferhaps
most disfiguring may be the well-intentioned but poorly
executed el1orls at repair, particularly the unl'eeling *pplicalions of overpaint ancl the use o{'inappropliate adhesives.
It is r.rnusual not to have these conditions be apparent to
sone degree in a room of historic wallpaper. lt nilen
retletts an accommcdation o1'the wallpaper li-l a structure
ancl signifies that it is a longstiinding componenl o{'an
hisloric intelior with a very specific and evolvecl identity,
lerrcling the wallpaper and the room something comparatrlc
to a patina" Conservation in these instances is addressed
primarily at an"esting darnage fhat could beccme more
problcmatic or unsightly, and expeclations ftrr a change
in appearance are comparatively moclest. However, when
the variety and severily of damage are narked, and the
secr"lrity ard legibility are endangered, the integrity o1'an
historic wallpaper" is compromiseei" ln these instances a
conservation project will be expecled to accomplish rnor*
significant changes. 'l'here are a variety ol possible or-r1comes that very much afl'ect how a room of historic
wallpapel will appear and be inlerpreted, as well as what
resources will be necessarv to achieve that outcome.
the counltre ss smatri areas o{'loss (with watcrcr;1oLrr) alter
renroving as much o1'tlrc w;rter'-soluble ovcrlptinl lrs prirriirle and glaring wha{ i"*nrainccl of it to harrnonize w:ith the
sunounding origirral c*lour. lt is impcx'lant to note that
inpainting was r-rnclert:rken on the original snrl'ai:e ol the
paper. In fact, tlre paintings resemtrlcd sronltous master
drawings with painlecl J'rames ancl th*y wer"e irpailtecl
to clarily this interprelation. The intcntion *-as to restore
ihe legibilily of their clesign without .jeopardizi*g the
irlmediacy of expression that a r1r;rwing lirsters. lt was
possible lo lt:cate copies of the lTth-r:entury priats thaf
served as i"noclcls lbr their renciering, so a refersnce n,;ls
av:,iilable to clrri{y the composition in lhose I'e*' rrelg thal
didn'i make lhcrnse lves immeclillely ilpparent in the t:ours*
of filling in lhe srlall losses betweeu survivingl pltclre s of
original design.
This pruject illustrates hoi.v l'rngile an image can tre,
parlicularly wheir it is as nuancecl as a hanel-pain{ccX tine.
and how the approach to inpainting should b* ilirccteil hy
re$traint. Leaving some eviiiencs of the cl.isracterislic wear
was inlcnlional with thc expectation that it woukl be
For complex projects it is crncial to en-rphasize that
improvements in appearance must be based on inrprr)vemenls i:r condition, even il'a compromised appealunce is
what instigated the review ol'treatment options. Although
a change in condition is the priinary f'ocus, the procedures
directed at a change in appearance (e.g" stain reduction,
filling losses, and inpainting) rlust be irlegral to the
lreatmt:nt design. A conselvation treatltieut eun then be
lailored to the capacity of an ariitacl to lespond to the
avrilatrie procedures, with its success being very much
determined by the connoisseurship and craltsmanship
hrt'ueht lo il\ r'\('r'uli(rn.
Outlined below ure live projects in which the appearance
of the historic wallpapers was rr-rarketlly cornpromised by
various conditions, including separalion, loss or stuininu
r':rf the paper support, and loss ol'the llesign lnedia. Thc
lreatment stratcgies are examined with regard to whal
options wsre available, how the cl.ranges in appearance
were undertaken, ald how the integrity of tl're histt.rrie
wallpapers was nddressed.
|;igurc l. Nand-pni.ntetl grist:ille
Pa.n.ini, Engl.i.,th.,
,tt.'cnt: u.fier
Giovanni Fr.tol<;
tirca l7{t5. btlrtrt tt({tf ment.
Hand-painted scenes after
Giovanni Paolo Panini, English, circa 1765
Jeremiah Lee Mansion, Marblehead,
Massachusetts
T'he grisailie designs wcre markedly cor:rprornised by
erortrlous loss liorn abrasion ald awkr.varcl e1{orls to
disgnise it by eiverpainting (as well as by lears and areas
of separation thal were mended and re-adhered to the plaster wa11). The lreafment was undertaken on sitt: withor"rt
removlng the painlings, ar.rd focused largely on inpainting
80
Figurr 2. {irisai!lc st:ent, cfit:r
trcuttt1.'t1t
hr inpoin.tin,q
Prcprints o1 $rrlrpoiiu:r 20{X)
subsllnred by a nore legible composition and serse of
dral'tsmanship and be harmonious with the arljacent
w:rinscotting and surouading furnishings which were
cilntempora,y with the wallpapers.
'Landscape Figures' pattern wallpaper,
French, circa 1815
Rosedale, Charlotte, North Carolina
sprved bnth to highlight tvhat remained of the original
wallpapcr and to communicate wirat a sr"rrlhce eompletely
covered in wallpapers thal rryere unusual tir the rrcr woulci
have looked like. Much attention was clevoted tei hiding
the overiapping edges ol the linilg behind the original
walipapers so that the background woukl tppeilr as
ssamless as possible. The r-:oherence of {lrr: desi;rn was
aiso significantly irnproved b3, cleaning. rnending. and
slighrly inpainting the losses in the rla.jor design elements.
Wallpaper survived in three second*l'loor bcrirooms where
it had been mounled onto inlerior wirlls rnade of vertical
wocden planks" The exterior pl*ster walls ol the bedroonls
and all other roonls in rvhich wallpapers had originally
been mounted were bare (incl"rcling a parlour with
Adamesqi-u: nror-rlilings). Tlre condition of the surviving
wallpaper was very eompromised by widespread losses
and tealr thnt had resultecl fiorn being mounted directly to
an uneven and acidic wooden surface, as well as by pronounced tidenarks" lading, and staining from exposure.
Although doing tinly local repairs for re-attachmerl was
considered as an option to preserve the somewhat archaeological qlality of the surface, it was decided to remove Ihe
wallpaper 1o f acilitate its overall cleaning, reinllx'ce it by
linirg, and re-adhere it securely to the plank walls. 'flr*
wallpaper was painstakingly removed with steani and tlien
washeci to clean it, improve its str"ength. and facilitate 1ining. The Japarese paper used 1irr" lining r.vas tuned beforehand lo malch the general background colour cl the wallpaper so lhat it could serve 10 f ill the mnny losses at the
same time that it reinlbrced the weakened antl torn wallpaper. The wallpapers werc then rcmoulted to walls that had
been preparetl with labric and Japanese paper beibrehand
to minimize the el'fur:l of the nlanks (as well as to f'acilitate
removal in the lirtulc).
The ton*d lining papr:r was used to disguise the losses
because the altcrr.rative of lilling them with individually
shaped pieces ol pape. was lelt to be an unnecessary
ref inement and a significant additional expense. l1 was also
f'elt that having the backgroLrnd be harmonious in colour
igure -1.' ltndx:upt, f iSurcs' l).ttt{:!'n r',nllpupey French,
t:i.n.u 1815, Rostdale . !;tlort trr:alntr:nl.
l'' i,q u rc 1.' {,u n d s t n p e l'' i g u re.r' p at t e r"rt. v, a! lpaft e r du rirLg,
treulnltilt (r:ont.prrrittg u *tfl on. the l.efr that is urtreaterl. u:ith u
*tllon tht: riglrt rhut hrLs been r:lerwecl bt'v:ashin.g tmd rcinforcttl
;
hv l.i.rrin.g x:ith o fotttd .ltj.pfi1ese pap€r).
?
l: i g u re
5.'
IrtdItruilt.
I'rcprints r'f
Sr
rrp,'riLrr
J{)f)(}
l,t.m t I s t : t.t p t, l: i g u tt: s' 1t u tt t:
r
n
v,
allp a p e r: aJi e r
to walls which had been covered belirrehand with fabric
and Japanese paper'(which also served to protect the
\w's.s
original plaster). 'fhe reprodLrction f ills were glazed
s
l;i.gure 6. Str,li:.ul spri.g pultrrn. x'allpupe4 Am.eric'an' cin:u.
1785 17q5, tluring trta.trrrcnt in v'h}t'h a s€L'ti.oil of o custom.
reprorlut'tion it hcing used as./ill nut.teri{t.|.
Stylized spr:g pattern wallpaper,
American, circa 1785*1795
0liver Ellsworth Homestead,
Windsor, Connecticut
The simple pattem in four colours was urusual bectuse it
was reported to be the earliest wallpaper printed in lhe
llnired States that remained in the lacation in which it hacl
oliginally been installed. It was compromised by widespread separation frum coarse plasler walls, pronounced
staining from water damage around the windows. losses
below lhem (which had been filled with a simplified reprodlction during an earlier treatnent), and surlace grime thal
obscured ahr: contrasl ol the pallern against the background
The origllal expectation was lhat the wallpaper could be
re-adhered to thr: walls by local applications of adhesive
without having to rsmovc it. However, when the time
estimate for this treatrrrenl was conpared with an overall
treatment that entailed removal ol'the wallpiiper, the
difl'ereace was comparatively small (especially in light
ol the additional improvemenls Ilrat could be realized by
repairing the original plaster on the wall afier the paper
was removed a:rd the opportunity to trt:st tlre rvallpaper
in a studio). After removal with broad spatulas (the laige
using an airbrush wilh walercolour to have lhem match
the surrounding original wallpapels.
The decision to undertake a comprehensive in-studio
treatment rather than a local on-site treatnlent was
made becarse signiflcantly more change could be
achieved wilh comparatively few additional resources.
-fhc
appearance of the wallpaper was significantly
iifl'ectecl by lhe surl'ace clealing, stain rsduction,
overall adhesion, ancl filling of large losses that
removal marie possible. Local on-site treatment would
not have been able to achieve complete re-atlachment
of the wlllpaper to the plaster walls nor reduce the prn:rounced staining more than parlially. Reduction of the
surlace grinre wilh erasers would not have been possible
becausc o1'lhe pronounced texlure of the lnderlyin-u
plaster. Overall ir.r-studio trcatmt:nt also ;rllowed f'or a
rnors accurate reproduction to be generated (because a
reference was iri hand), fbr the original plasler rvalls t<.r
be repaired as necessary, and. nol insignificantly, 1or
costs to be saved that would otherwise be spenl i;n
mlrintaining e()n\cr'\ lrltrlr on rilc.
Aithough the in-studio treatmenl and overall Lenrrrunting
represented a project that was more complex, il was mole
long-lived and it ultimately entailed less risk (there would
have been a polential for staining during local re-irdhesion
if the discoloured historic wallpaper was not washed
belbrehand).
Wood block printed scenic wallpapers,
Srench, 1812-183t1
Prestwauld Plantation, Clarksville,
Yirginia, circa 1795
1o
Three sets of French scenic wallpapers with coordinated
borders and riados had been mounled over remnanls of
English pattern wallpapers duling the redecoration of this
plantation house in the l83i)'s by the second gencrillion
of inhabilants. The wallpapers covered large areas and
their combinalion of patlcniri was romplex. The historic
wallpapers were in a very compromised stafe with enor-
a snrooth surlace and washed with water 1o reduce
staining and lacilitate lining with Japanese paper. A
new reproduc{ion to tlli the large rectangular losses
below the windows was printed on paper made by hand
fo resemble the original; the background colour was miide
sonrewhal lighter"in lone than the darkened original so Llrat
it could be useri in three large sections where the original
wallpapers on either side were not uniform in tone. The
original wallpapers and reproductior lills were remounted
mous separations from the walls and associaleil tcars and
lelsses, narked staiaing tiom exposure, and pronounced
loss of the design media tiorn cleavage (a phe:ronrenon to
which historic scenic wallpapers are parlicularly sub.ject).
The lreatment was designed lo restore llre scenic wallpapers t{) their oliginal appearance as much as possible ; this
was in:porlant because ot'their rarity and their plom;rence
in * cieeoralive schenc for which unrisually complete
docr"rnentation sr-rrvived and tbr which many of the
original lirrnishings had been reassembled.
areas of separation and degraded adhesive enabled this
be done with a minimal use of steam). lhe histolic
wallpaper was surface ciealed with vittyl erasers iigainst
Preprints of Symposiun 2000
Different slralegies were also adapteri for {he use of
reproduction wallpapers in le-creating the original liesign
schenes" The scr:nic design wns missing from lhree of fbur
walls of the room dq:scribeel absve. Covering those walls
with one of the p*tterns reproduced {rorn sarnples lound
in the house (including an Hnglish ivy palterl circa 1795
lirund behind the seenir wallpaper) was l'eli lo be a distraction in a small roon where limited quantities ol'the origin;ll scelic wallpaper *n"vived" lnstead" hardmade sheets of
laid paper that matched the texlure anri size of those used
in the scenic wallpaper were toned a unilorm colott'of
irlue to harmonize with the sky and mounted to simulate
Figwe 7. Scenic v:ttllpaper Chasse de Compiegne by Jacqwemctrt
F rench, I
I I 2, before treatrll!nt.
Fignre 8. Chasse de Cornpiegne, ofTer trea.tm.ent.
Removal ol the lvallpaper was necessary to faciiitate in-studio
treatmenl {washing with water to clean and improve the
strength of the paper, corsolidation of'the design media using
a suction table, mending,
filling
losses. ancl lining) a$ well as
make repair"s to the lvalls. l-osses in the scenic paper were
indivirlually f illed belore lining so tlral the sr-nllce level would
br: uniibr"r.n and lts invisiblc a base as possible fbr the inpainting. ln contrasl. losser in the borders and dado were l'illed by
the liling papers because {he slight Llif}-erencl:s in suriace lcvei
were imperc:eptible in trl'u:ir locations at the ceiling and below
:he chair rail. Losses in the scenic papers iind the borders were
inpainted to cer-lplele the su:rcunding design; photographs tif
aloxher irnpressicn of lhe scenic rlesign were available to
recorslrret ssv*ral larger areas. The lining that lilled the losses
in the dado was partially toned and tlren given a background
wash where il was revealed. The losses were so large and
widespread that inpainting to re cr*ate lhe design was felt lcr
ire presurnptuous. Survival in a fragmentary appearance war;
accepiable because of the repetitive nature of the pattern, the
locatiol on the wainscotting (where it was obscured by numerous furnishings). and the fact that i: was eclipsed by (and subsidiary to) the sceric wallpaper above ii"
1o
Preprints oi S.'-mposiu:r 20iX)
r.vall treatments iiom the same era tbuld at other sites. A
reproduction of the or"iginal leaf palfern border atrove the
scenic design rvas continued around the top of the room
above the uniform blue side paper. To replace a border,
dado, ald side paper around an original scenic wallpaper in
another ronn, reproducticnis we.e generated using samples,
photographs, and examples in better sondition f}om olher
collections. The original faux-hois painl schemes were also
re-created in each room freiru painf samplcs.
The enormous change in appear:rnce of these French scenic
wallpapers appeilrs to have trr:en ntade possible rnostly by
the speeiai aatention devoteti to inpainting (approxirnalely
hall ol'the lrralment lime). Htwevcr, il was the prelir:rinary
focus cn procedures that illl'ected their condition thal
allowed the inpainting 10 appear discrete" A remourttinll itr
which historic w;rllpapers ilppear to have beer well-caredfcr r:ver Iime (r;rther than disproportionately restored)
points to how crucial it is lor all studio treatmenf procedures tc he clirected toward a preconceived and tailerred
outcome. Rooms of this quality :uid potential arc distinguished in n-ieriting the devstion of the necessary resources
to every aspect thal will sustain thei:'good presetvalion a*d
accurate appearance.
Xand-painted export wallpaper,
Chinese, circa 1790
Winterthur l\iluseum,
Winterthur, Delaware
The Chinese export painting had been nrounteci to the walls
of a room whose dimensions wcre specific*lly ccnf igureri
io uccommodate it. The uchitsctural mouldings thal liarle
the pailtings are crlrtsmporary to the:r-r, altholgh o1'
English urigin. as are the American Chippendale furnishings. The ror:m is il sumpluous sin:Lrlation. The inrportunee
of the pailting lo that efl-ect is based on i1s grand compositional sweep. the fine qualily of ias execution, and the
comparative radty ol the earliest examples of large-lbrmat
Chinese expo$ painting. The appearance was somprolllised
Lry several features" however. During installation of the
paintings in 193 1, six simulations of the design had been
created for use above the dccrs and windows because the
quantity of original wallpaper was limi:ed, and one larger
83
sirirulatinl hail been cr*atsd to join lwo olhelwise unreialed
ci:rnpositional raoti1.s. Although thcse simuiations we:e not
particLrlarly laithful to the originrl paintirrg irr thcir rnarcri
als or manner o1'clepic:tion, {l"reir ilppcararce wils nol rtristracting r-rnli1 the papers used lbr their sllppofls becante
markedly rlisct>loured ti'orn exposure hecar:se ol' their
poor quality. Severai canipaigns of'overpainling had been
direcled a1 lhese locations in fhe pasl, particularly in the
upper rcilches where fhe areas of sky and molntains l:acl
been heavily repaired ancl ovet'pair.rted.
the doors and windows it was decided lo conceal the areas
o1 sky, whelc the disfigr-rrer.r-rent was most ribjectionable, hy
covering thenr will.r opaque Japarese paper that would
serve as a grounti layer lbr a nore accurate irnit;r{ion o1'
lhe tiriginal surlace. 'fhe paper overlays werc shaped to l'it
above 1he mountainous horizon. adlrercd will'r wheat star"ch
paste , anri glazed with walercol(lur to matcl"r the hackgriiund colour oJ'the original painled surlices on either"
side. The one lafger *fea o1'sirnulation was not covered
with Japanese paper; insteail fhe darkened backgrould was
glazed with an {}paque watercolour (including pastels and
acrylic) to conceal it and render it less distracfing. The
composition ;rnd design were not morlified but lhe more
uililorm appearatce harmonized with and distinguished
lhe original design. With the distractions of the darkened
paper and poor quality overpainting rrinimized, the
detailed renderings and panoramic br"eadth of the
Chinese export painting were returned to prorninence .
Conclusions
In sumrnary, fitore than one rcceplable option was generally
avaiiable lbr each ol'the flve projects described. The trealnents wcre clesignecl in collaboratirn wilh the curaturs in
response lo rvlrat they lbLrnci compromising kr thc inrcglitr
oJ'the historic wallplpels at their si1es. Altlroirgh each freat-
Figure 9. Hunrl-painted L.\port u.'{rllp{rper, Chinrst, cirto 179{),
t<tp lefi qu*drut,tt is the siwttl.ation f'ruxN 1t)31).
cJkr trcutxttnt (rlte
An overall in sifu trenlurent was ins:igated hy the ins{allalion of new ceiling firlLu'es thnt would signif icantly improve
tlie illurnination o{'the painting (which necessitatecl closing
ot'tlre rocnr. at which tirne conserriution couid *lsti i-re
undert;rken). Atlenlion was clsvoted l* surl'ace cleaning,
r"*-adhering edges xhal were lifting. l'iiling small arcns ol'
loss. rech:cing sm*ll water stains. *nd inpainting the
nunierous larger and smaller ;rreas of ahr;rsitiri. However,
adciressing the disfigured areas of simulation was apprccia
bly rnore complex technicaliy. ethically, ard aesthetically.
'l'here rvas ni: wish to repiace the sirnulalions becaL:se they
were pert of the oliginal mounfing scheme. It was not
possible tc lighten the darkened paper support by either
local cleaning with water or scrapilg the snrface witl'l
scalpels to reveal a lighter uncler layer, although some
overpaint could be reduced. On the sirnulations above
menl \'vas a ma.jtir unrlertaking, they elillbred ir.r lhe purposes
to which sirrilal proccdures were directed and in thr- means
by u,hich irnproved appe:ua*ces were achieved.'Iwo o1'
the proiects were undeLtak*n on site heciiuse conditions rlid
not eail lbr remilval {nor wouki it have been well advised),
lvhereas lbr the othel pro.iects renoval was prel'crreri
bec;ruse cond:ilions could only be addressecl in a conservaticn studio. It is understandable, cernsequently, that greater
expectations were generated for the outcome of these projects" Treatment in a studio makes pclssible controlled exposure to water which is necessary for stain reduction, overall
cleanirg. removal af discoloured adhesives, and elimination
of clistortions. It also rnakes possible the application ol a
liling for reinlbrcernent and ltx'the control of moisl,ulc
cl"u'ing the remounting which in turn allows this {lnal
procedure 1o be underlaken with mu'e colrtrol and sa1'ety.
lnpainting was directed at the conciition of the media, k)
Itsses whi:re the original paper was exposed, to f ills or'
linings, ancl to disliguring orrerpaint that resisted removal.
Reproductions were grnerilteil in ths conservation stutlio
as f ill ilatelial and hy commercial nranufircturers lcr
use in conir-rnction with original wallpapers 1() rs*create
hislorical design sch*mes.
A locln of historic wallpaper should have to undergo
conservation treatment of this conrplexity only once. The
handling and prilcedures ir neccsritates arc not without
risk to objects this fragile" The credihility of the change
in appearance is f-ouneied on the pararnounl concern heing
an improvement in ccndition" and is sustained by connoisseurship and crafismanship being directed to that end.
Pr*pnnts
o1'
Symposiun 2000
Ackn*wledgements
Rickman, C. "Wallpaper Conservation: The Support."
pp. 21 7 -227 rn'I'tt t I *ne ttl d e.s S n gt rt r I s : T nw aut
I n t e rd i s ci p I iualrgs. Paris: Assoc ialion cles Reslaurateurs
D'Art et D'.t\.rcheologie de Fonnationn Universitaire, 1989
g';
i.
']'he !'iv* projects described were undertaker in associalion
with rnr:ny conservat{}rs. Particular acknowledgnents are
due 1o l,rxrai*e Bigrigg who p:lrticipated in all of the
pr*.iecls (except fbr the Chinr:scr export paintillg) lxrel
ilavid Coiornho who particip*ier1 in the treaturerl of the
French "Landscape Figules" arel trvo roon.ls of the French
scenic wallpaper. I nnderto{)k tfeillments of the }ingiish
hanci-p*ir:ted gris*iile scenes a*etr onc room of lhe Fr"e:rch
scenier rvallpnp*r while I was S*nior Coirservalor al lhc
Northe*st llocrinr*nt Conservalirx Csnler", and treatment
ol the Chinese exprxl painting while under the directiorr
ol John Kriil" Scnior Faper Conscrrillor o{'the Wintel"ljrr"rr"
hluseum. rvhos* prtle ssionai slewarelship was in:pir';r
{ional. Conlr"ibr-rtit;ns iry lhe cc;nsenrllors of those
inslituliixs rver* cri{ical 1o lhe sLlccess lrf the pr()jccts.
(1t8i). pp.-51-151.
f.
ber.
P.^
and h4. l'luxtal,rle. "The Conservalion ot"
liighleenth Century Chinsse Wrllpapers in tlre Uliled
Kingdom." pp. 52-58 in T'he Ct;nse rvtttion of' l:;ur E{tstern
Art (J.S. fr4ills et al., eds.). l,onilon: Inten"ration*l lnstitute
fbr the Conservalion of l'{istoric and Artistic \\trrks, 1988.
,{ppendix: Research colleetions
of historic wallpapers
1
l
Museum
9lst Street
New York
hlY
l{)02S
LISA
750{)l Paris
r"i
i
2 East
Musde des Arts Ddcoratil'
107 |tue de l{.ivoli
it
Atnrriru.lrlew York: Brlrra
Iroundiit onlCooper t{ewi tt h,'1 u sc ir. I 9 80.
Wallpctper
We
Srnithsoni:n lnstitution
{.-'ohn, hll.. ed. "Wnllpaper Conservation: A Special Issue."
.f ourn*I tt tke Awericun Itrstitute.fitr Ce",ru.l'rlrtrllo,'r 20"
Lynir"
Hasel: lSruce Almburg. 1997.
C--ooper-Hewi
&ibliography
?
l{iiegg, A. Le Corhwsie r - Polv-ahrrx tie urt'kitet'twrule:
Le Corhusiers's Aolrtr Kcrboards.f'ron l9-] ] and 1959.
llrance
trlrr Prrpr;'cel 1&lll: IJi,rro,,"it Fcllerrui,
Ter'ltniq*r. N*v lork: l-liirry N..Abnlms, lnc.. 1994.
Hcskins,
1.,." r:ei.
Musde
"1'.K.
"'Wallpapers." pp. I l{:-1 26 in Ccrrir,q
fli.r'lr,rr;r'frouse
{l-:[. Whclchel. eii.i" New Xrrk:
.fr:r
|'iarry hi..Ahr*rns. Iuc.. I998.
Mc[]lintruk.
Yotrt'
hzlc{liint<uk. T.K. "Conservaticn oi' }'{isloric Wallpapers.
A Case Stucl;,,ol''lhr*c Fiench Scenic Wallpapers
a{ Pre sflvt;xlel P};rnlr{ion" VL"ginia.'" pp. 383-392 in
{.i.u.r gri,c:lon e d t: i M *t e r i * ! i f-ib ru. ri,4 rrl, ri,isJlr:i e G rnfi t: i
{&4. rnel P" fiiov;ulnu Turiie}la. ecis.)"
Allein*ndi & C.. 1999.
l{*rnl:
L.lrnbe${)
X&trllpr;pg"s
fbr fli.rlorlc Srir&lirg.r, Jnrl *d.
Washir:gio*, I)"C.: Freserv*tion Press. I 992.
Nylander, lt.,
li.
R.edruor{i, nnd F. Sander. tl/r:l.lpupet
llngltmtl" Hoston: Soci*ty lor the Freserrlliorr
oi' New fingianrl Antiquiries. 198{r.
Onran. C., *nil J. Hamihon. W*l{pupes's: An fute*tt$ions!
Srrn,rl'.y'i'orn ths Vi(loria *nd
14useunt.l{ew Yrrrk: l"{arr,o" N. Abranrs. lne.. 198?.
a*tl llluslrulerl
llrcprinil of S-v*iposirr:lr 20iXl
Museunr il1'Art
Rhode lsiand School of
De
sign
Ilencf it Strcet
Fror,idence It l t)2903
222tr
USA
Camb:"idge Sireet
Bosron il4A {)21 l4
ilsA
Victoriii
anci
Alberl Museum
Crorlwell Road
South Kensington
London SW7 211"1Uniteii Kingdom
lr ,&rr
Fll.r'foi"r'
France
l4l
iruv*l *Kamnrerer. 0.. cr-1. 1) aple,,-s Feirr l,r Prrilorn mi cg ue .
Paris: llnion des Arts llfct:r'*tif.c, Ftr*nmarion, 199L
lt.
Papier Peinl
Ri"re
Society firr the Preservation cf New England AntiqLritics
N
N3,landc;",
11u
Zui:er
6817f) Rixheirn
28
Alhtrt
Whitworih Art Callery
Univ*rs ity cf Manchester"
Oxf'urLl li.oad
Manchester M l5 6ER.
Unitecl Kingtiorn
Rdsumtf
Les effefs de la restauration sur
l'apparence des papiers peinfs historiques
L'Lrat er I'ctpparence rles papier,s peints historiques
peurent Arre a;ffectds par wr grand nomhre de .fitt:teurs.
Lom.m.e
la.fragiliti
des ma.tdriaux, les gra.ndes su.rfaces
qtt'i/s t:r;t*,rent, et le
var^le lren.tail de conditions
auxquelles ils sont exposds. Le dh,eloppement rJe la
restuuration des pupie rs peints en tanr qLre spitia{itd
rc*mn.oit qu'ils sont en. e.f{el dignes des ressources
e.xtraordinaires qui peuvent Atre requises pour Les
tr(itements de huut niveau. Cet artit:l.a expose t;inq pro.jct.t
qui illustrent les tlivers domtmages auxquels les papiers
peints his.tariqu(,s peut)ent €tre "su jets, uinsi qu'un.e vari.6li
d'options de traitentent. Il est question en particulier de
ce qui constitue !'int{grit€ d'tme pi}<:e au papier peint hislorique, e! conlment L'apparence d'une ytiice cofitlnt7ni11'
par rles dornmuges pe$ Affe chun.gde pr ur en.fuirtr /cl.r(rrtir I' int{griti. {-es amdlioratktns d' apparence tlt;t't ttit:nt
toujaurs itre Jrmdies sur d.es {}m.{l.brati.ons d.'dtat, qui
doiveti Arre ltr pr€rsccupatiotl px:wiire, appuyie sur
le discernemenl. et le mitier.
86
Preprints ol Synrptsiu::-r 2l)0{)
&esforafion of the Picture Gallery af Temple Newsam,
Yorkshire, England
lan Fraser
Temple Newsam House
Leeds LS 15 (lAIl
1&/esl Yorkshir^e
United Kingdon.l
E-mail: [email protected]
Abstract
Temltle,Nen,.rcm. a large country holse and Crade 1 listed
building. came into lhe ownership *f Leeds City Council ir
1922. and iluring its clevelopment as a mrseum of fine and
decorative afi many of its historic interiors were radically
changed. In 1983. new aititudes, directorship, ald changes
il the acquisitions policy resulted in a new progra$ to
restore the rooms to their pre-1922 decolative schemes
and furnishings. Tweive rooms have been completed to
date. culminating in the restoralion of the Picture {lallery
(the most imporlani room of its type in England). This
paper relales the case history of the Picture Caller"y at
Templ.e Ne*^sam as it was returned lo its 1746 decorrtive
schemc cXuring 1996. lnformation putling the housc into
its histolicatr conlext and an overview ol post- 1 922
alteralions nre also given.
Introducticn
Temple Nrl,.rarl is not only old (circa 1500 in parts) but
also has a highty varied past. At times il was at lhe cenire
of English hiskiry. ancl twic:e in Tudor tirnes it was forfeited
to lhe Crorvn fhr Catholic and political intrigue. It reflects,
perhaps more than most Lountry houses, the changing and
ecleclic tastes of its owilers ancl lheir lbrtunes. The land has
been occupied since beJirre nredieval times, and was llrst
recorded in the Domesday book *s lhe Munor of Nev,sum.
The Knights Templar, an order of war:'ior monks who
guarded the roules to the Holy Land, hael a preceplcry and
farmsleads on the propefly unril their order was supp*rssed
in thc eariy l3th century. The estate passed evrntually lcr
Thomas, Lord Darcy; in apprr:ximately l500 he i:ecame the
first person to build a house (foul wings with a centriil courtyard) on lhe present site. All the subsequent owners" including Lcer'ls City Couacil, have left their mark, many nolable
intcliors having bren created, removed, modified, or covered
up" Ulforturatr:ly, coltemporary descriptions, invcntorics,
bills and accolrnts, and the physical remnants are fi'equently
all that is leli, particularly of the earliest schemes. The
earliesi photographic records are iiom the 1860's, and
much ncre survives of laler room configarations.
Prep::n:s of Symposiun 2{XX)
Figure l. Temple Newsam seen.fnnt the southeust. 7'l1e Pi(ture
Aa.llerr- i.s in. the north *-ing on the .first.fl.oor.
The exterior of Temple Newsam has also evolved considerahly. The house was in a semi-ruinous state (afier 80 years
of neglerl while under fb*'eit to Elizabeth I) in 1622 when
Sir Arthur lngram purchased it and consolidated the north
and south wings. In 1636. a fire in the east wing resulted
in its complete derntilition, bringing the house to its opcn
courtyard plal. Sir Afihur's descenclants lived at Tewple
Ne*-sam ior the r-rext 300 years, becoming the Viscounts
Irwin after the Res{oralion of Charles ll filr their support
to the Royalisl cause.l
When Edward Wood (later Lord Halilax. Foreign Secreiary
in the Chamberlain government), the last private owrer,
sold the 371-ha (917-acre) park to Leecis in 1922. the
house came free (its contents havirg already been removed
or sold separately)" As Leeds Cit;r Council deciined lo
purchase these, the house was shown to the public as a
more-or-less empty shell until 1938. Its developmelt as
a country house maseum of art can be traced to this date,
when Philip Herdy (Director of Leeds City Art Gallery)
was given responsibility for Temple Newsunt ald set aboul
organizing a pioneering exhibition of decorative and fi:re
art 1'rom Yorkshire.t"Ihs foundations for purchasing works
of art lor the house were laid in 1939 with the repaLriation
to Tem1;l.e Nevvsam of the suile of furniture made for the
Picture Ciallery
in
1746 by irnmigrant French furniture
maker James Pascall."
87
Accounts were kept of discoveries and work uldertaken to
the building inside and out after 1922.'They, and accounts
and research by others,t o " tel1 a tale of trrost foonrs
having their pre-1922 decorative schemes removed and
discarded. Many chimney pieces were removed and sold,
relocated to other roorns, or aliered in some way. Much
of this work was ;ndertaken in an el-l-ort to create more clisplay space for works of art evacuated lrorn Leeds City Alt
Gallery dui'ing the bombing of l-eeds dr-rring World War Il
and to provide suitahle settings lbr 20th-centur1, works of
llne and decorative arts. Other architeclural f'eatures iike
alcoves and durrways were covered over rx tur:red into
shorvcases. In 1939. cork tiles were boncled to most sofiwood lloors and eleclricity w;rs laid <ln. Some rooms and
window bays lost lheir dael* panelling and window seats
when a new heating system with powerful convector
heaters was installetl in 1968: hardboard and plywood
were used to box in the convector heaters and pipe
runs. T'hese lrealers were the likely cause of much
damage to veneers and gilding on wooden obiects
in the collections.
The decisions to do soile of these things wele plobably
pragmatic. I3y the late i930's the condition of the rooms
n'lay n()l have been very good. Accounis tell cf sol'fwooil
wall linings in poor condition liom wood-boring insecls,
ald softwood floors worn away by visitors. \!'ar bror-rglrl
further pressure on Temple Neu'sum to create nore display
space. Some decisions, however, were thc resr:l1 o{'curatorial altitudes ol the time. Philip l':lencly, who wenl on lo
becone Direchr o1'England's National Callery, rvas
instrumental in many eif these tlterations. The following
comrnents firr.:r his notes indicate his (and perhaps the prevailing) attiludes: "A grert mrny excrescences have been
removed such as heavy woeid and cor"nposition cornices
ovcr winriows and l'anlastic obelisks over the large doors"
when relerring lo Viclorian f'eatL:res added during Emily
Meynell Ingram's ownership t':f Temple Newsam; that
Roon Sevcn, a heilroorn in the 18th and 19th centuries,
had been "much irnproved by the abolition of the early
nineteenth century bed alcove"; and in ref'erence to the
solth wing tredroons, they "have never containeel an1'thing
of serious historical or artistic interest."l By 1 950, rvery
historic decorative scheme in the house hacl been destroyed
with the exception of the Chinese Drawing Room.
In the decades since 1938" a colleclicx ol'fine ancl decorative art has been built up at Tewtltle Nev,sam rncl the other
two art gallery sites. This collection has been calleci the
most imporiant collectiur ol'E,nglisl.: dec:oralive art outside
London." Furlher recognition was achieved in 1997 when
{he Museums & Calleries Commission awarded Designated
Statns to the collections of fine ancl decorative arts at
Temple Nev,sont, the Leeils City Art Callery, and Lotherton
Hull.The early 1980's saw changes in directorship, attiludes. and acquisitit;ns policy. Instead of acquiring purely
on the basis of aesthetic qLrality, the acquisitions policy
evolved to rellecl a nuch wider range within the applied,
decoralive, and line arts. Existing collectiurs began to
be redispiayed and new objects that would be approprirte
to the various rooms {bedrooms, sitting roonrs. dining
rooms, libraries, etc.) were accluirecl. Tem.ple Notsclrr was
no lolger seen as a backdrop fbr displaying wolks of art,
but as a venue for interpreting otrjecls in fhe context. irr
which tl-rey would have been used.'l'his nieant furnishing
according to inventories, and where possible reprtrilting
Tenrple Newsam objects as they becane availabie . The
Keeper af Te.mple Neyysunt at that time, Anthory
Wells-tlole (currently Senior Curator oi Decorative Ar"ts
at l,eeds Museums and Galleries), had been researching
the building lirr several years and felt there was enough
evidence available 1o begin re-creating authentic interiors
at Tentple Nev,sttnt. A progranr of restoration began in
1983 with the elthusiastic approval of the then Director,
Christr:pher Gilbert. Funding lbr this ongoing program
has come largely lrom the interest on capitai investr:cl
llrm an insurance claim for a group of stalen snullboxes
a:rd also 1k:m some external grants. Signilicantly, there
has never at any stage been a cost to the ceiuncil {axpayers
of Leeds, nor has there been central goverilmert support.
,A,s with all United Kingdom 1ocal authorify museum
services, Leeds Museums aad Calleries is llnded
almost exclusively bir local litxalion.
Chronology of the Picture Gallery
at Temple Newsam
Circa I630
Sil Arthur lngram rebuilt the rorth wing and built
an
oak-panelled .)acobean Long Callery."' lt extended the
full lergth o1'the wing and the oak panels had images of
animals gilded on thern" Tlris same oak frame and panellilg
turns up elsewhere ir.: the house. having been re-used as the
limber linings 1rlr wall coverings when the Long Calle:'y
was reordered.
Cirt:a lV38-1716
Henry, sevelth Viscount. set about lransi'orming the
north wing into a Picture Ga1lery' llanked by a library and
bedchan"rber. Very complete accouflts and bills of this work
survive." Mainly York cratismen weLe employed. including
the architect. The walls were lincd with tirnber, and a green
flock paper was hung. James Pascall was conrnissioned
io make
a s;ite o{'gilt l-LrrlitLrre lbr the Pictr-rre Gallery':
20 chairs, four settees, a daybed, lwo pairs of tables, *ight
candle stands, and two magnificent giranriol:s.r Furniture
historians now regard fhis as the f ir.rest early roeoco
ensemble in Britain.
1808
Nearly 90 pictnres were listed in the Picture Galiery.
includilg rvorks hy Marini, l'itian, Rubens,
and
Rembrardl.'r
Pttprittts ,rl
S1
rrporiurn
J(XX)
Crn a 182S
l-atly l{ertlbrci redceoralecl llre Picturc ilallcry
a red
llcck wrll
ancl hung
papc-r.
I E22
The conlenls of thc Pielur"c tlaller,rr lvere relrovecl or sukl
as irart *1'lhe r:harrge of-orvnership o{'&,r,,r1rfu: Ncwsrun..
/9"t9
The Picture fiallery srile was hought bach lirr Tunple
ldeu'suttt anrl r"einsl;rted in ils original roonl.
| 9,10
The r-ed f'1ock wallpaper a1ld timber linings were removed,
liom dado raoulding to cornice. The walls were relined
with hardboard and a red coiton dam;rsk was hung. The
plasterl.vork and j oi nery were redecor;rtecl.
j
Frgare -1. Fieccs ol the Ficture {-}a.!!en".v green.f ktt'k *,ullpapet
tlisr:oreretl in 1992. on re-ttsctl tirn.be r f.in}ng dw'i.ng ert:avation. o.f
a room i.n the v,e ,s1 rr,lng. A Willic.m Morris paper, r:al.Led "lndinn"
circo 1880, ttut. be .teen mt th.e ri.gh! of the pictu.re.
S'1.8
More than hatri of ihe Picture fiallery painti*gs were given
back tn Tent;tf t,//errsr;lr hy n-orri Halif nx.
Cinr l9$$ l9$,l
Conveclor he-alers rverr: ins{rllecl iri llvc window hays in
lhc Picture {"iailcry. Thr: er{enl ol-tross in llrese window
bays lvus unknorvri unlil ther renrovll ot'lhe hcalers
in
cietaii missing in the previ*us s.rmple$, was discovered
{during another ro{tln reslofation) lrn Iiniber re-used w}ren
the Picture Callery w*s reclccoratecl in 1826.'fhir prLpcr ir
ol'a palterr
liu-rnri al C{ruylon frcr&, Surrcy:
i.4trusltur" lpswir:1r: lhe Privy
f.'llri.lir/luit'li
{liuncil C}rlirber.
lrV.tslmins{er.
1993.
/99J
1981
Fragmenis of a greer lloch n'*llpaper \&rere lirund r-rnder
floilrbrinrils in llre Picture liallery. ltrollowing shuclural
problc-lns in lhe lrusse s supporling ll.r* plaslerwork ceiling,
the paintwortr;. *'as reclone in what subsequently proveci 1o
be ver3, uns3rilpaihetic r:oloutrs.
Missing wooden dado paneiling (lwo window bays)
and oak lloorbo*rds {livc rvinclow hays) wcre reinstated.
H,nougtrr original clado anil skirting rnoulding survived {o
go back ir.rlo thrc* ot- ths restrored windolv bays, lcaving
two wilhoul any moulcli:rg.
i 991
1985
A second expioralion under floorboards reveaied more
pieees of the green llock pape: and its likely pattem.
This was conf-irmed in 19!)2 whe:r a large piece of the
paper. showing the r:o:lplete pilt{ern inc}r:cling srenciiling
The decision was made to reinsaate the 1746 clecoralive
scheme. Planring penn:ission from Hnglish Heritage had
aiready been granted as part of eariier room restorations.
r\n crder was placeii to Allyson &4cDermott to reproduee
fhe green l-lock paper {1'or which she hacl alreacly analysed
originll
sanrples)"
! 995
J'hc malerial 1br the li:rnilr-rre cii$f oclvers (re f'erred 1o in thc
18{)8 invenlory as "green N4ancirestcl chcck casc covers")
was rnarle hy Conl*rx Weavel's bascd un a sarnple ol'a blue
Manr-:hcslel cirEek llral l"lad tlecn f or-incl in an olel ral's lrcsl
unrier llourboaruls during Jn *arlisr room oxcrvalion. An
anal3,sis o1'the paint I:iy*rs on.]oini:ry. plasterwork. ancX
stoitgnr'ork rvas urldertnkel hy Iratrick Elty o{'Flpel's nncl
Painl to dclermine the f ii'sl paint schc$e. The gilt sulfhces
;rnr1 r"rpholstery oi' th* sr-rite o1' l'urnili:re underweni
c{]nser!iillon treatnlenl.
Figu.re 2. The Pir:turt {ia.llery a1 Temple Newsarn
Pfr:prinls
o1'
Symptsiunr 2(iiX)
in
1980.
Januar\ to May 1996
The Piciure Callery ra'as closed and emptied
The walls were slripped ol the rt:d damask and hardboard
lining revealing the Tudor and Jacobean rnasonry fiom
dado to cornice" At this stage tlre roorn was recorded by
the Royal Conmission on the Histolical l4onumenfs
of Ergland.
The fiames of all the painlings were cleaned, a$ were
the gilt surlaces o1'lhe girandoles and lables.
The carved stolework of the central ror"th window bay,
which had been hacked away fbr the boxing of a convector
heater, was restored by Robert Aagaard, Period
Architecturrl Designer*.
The walls were relined with treated softwood. Vertical
rebated grounds were anchored tc the original locations,
eilher into existing oak plugs in sockets in the brick or
modern plastic plugs into pointing. Tongue-and-groove
palelling was fixed into the spaces between fhe verticai
grou:rds using galvalized nails.
Hesp anil Jones of York prepared the new tirnber lining
1i:rr lhe green l"lock papcr. Thr: $il11c conpaily
also repainlcd ths rool'n ar,ctxiiing to Patrick Baty's leport.
liremption frlm legislation rcstricting the use of leatl paint
was required and oirlnin*cl lhroi"rgh Eirglish l'leritirgc.
of thc lvalls
'I'he case covcrr lbr the suil* o1'farniture were mar1c
{fnrm the ma{erial \\/oven lry Contexl Weavers) hy textile
conservator ltslsiilir: l'{ill. wlro also nrade acirJ-free
undercovers.
The green {lock wallpaper
Allyson h{cDermott.
anrtr
border were hu*g by
Green venetian blinds. specified in the 1 808 inventory.
were installed in the scuth window bays.
Pictures and furniture were reinstated and the Ficture
Callery was reopened on L{ay 6, 19S6.
Decorative plasterwork tlrat was becoming detached was
crxrsolidated i:y Mark Maniatt.
Carved wooden dado ancl skirting rrreruldings, sLill rnissing
in two window bays, were made by Andrew Hunt.
Figurc 5. South ytull, v'est tt'ul.
Figtre 4. General tiew.fTont
etl ',[ tlre l,lorter cailinq
and the Tudor rmd Jacobeatt britkv,ork after removal oJ'
inlrttsirc
90
1117 rt
'ffi,iffi
{igu.re 6. Nortlt. v,all, v,est en.tl
elenzents.
Preprinls
o1' SynlposiL:rn 20{X)
Policy decisions
By the early 1990's it was appare:rt that the wall linirgs
oN hardboard were deteriorating, becoming brittle and
inadequate ibr hanging the large numbrr of pictures thal
new display priorities required. Sonething had 1o be tlone,
and planning for the restoratior oi fhe Picilre Callery
hegan. Aithough strong evidence also sxisted fbr the
room's 1826 decorative scheme in a red flock paper, the
decision was nade to restore the Ficture Caller'1 ttr its
1745 scheme {a decision that was inf1uenced by a
Figurt: 7. 'l'kr stont: sill t;.1'tttt north t:entr"al y,-indr;w' hal! harj
!tt ( 1 ltttt l,,l,tr,t.
horing
t.;{ ts
i' l',,t,
;', 196E. Tlri,r ytos d.onr:
tonvtt tttr ltttt!t't, i*sutlltd u{ th{tt tiille,
w
that th.c
wou{.d nol
frajcct rthr;tc lh( dude lcYcl^
numher o1'factsrs):
a) the rraterials ald pattern of the green {1ock paper were
known 1bm excavation and analysis, and a company
existed thrt could reproduce it;
b) many of the architeelural {'eattlres of the room remained
inlacl, and what did not couid be determiaed by known
specialist co;npaniesl
c) nore than hali of ll":e piclures thiit had hung there in
the lale lBth centLlry were already there;
d) the suite of llrniture that had heen commissioaed for
this room in its 1746 decorative scheme was already
there, and its l'loral needlework and the green flock
paper \ /ere clearly carefiilly chosen to harmonrze
(fherefore, redisplaying lhe suite in this predominantly
green setting would assist visitors' inti:rpretalion.
re-establishing the links of hirnishings and thcir ri)r)ms,
which in grand schemes like this woulti have been
conceived en bloc);
e) although red has become a favourite color:r lbr the
hangings of picture galleries, greeil was a popular choice
in the mid 18th century. and a green flock paper would
therefirre serve to illustrate an earlier laste and lashion.
figirrr
,1. 7'ltc
tutt'th rt*l! t'tntxtl y::indovr hay vtilh its restored
Jfa/fl{,{ ar}*"
Figu*: 9. V im.!;tr liuirg hcirtg reinst*tr:d on tlrc v:€sf
7'he
rcrtitul {itxht'r g*lutd.i
u'r:i"c,
w*ol.l.
;;csillor1l..d oil tl're origino.l.
As with previous room resioralions, we tried (as far as
is practical) to be faithlirl to the rrraterials and techniques
used originally. l'{owcve L. conscfvution priorities (which
were inclucied in spccilicalions to give a longer ser-viceable
period) nleant that things that would not or co;ld nol have
been done originally were speci{ied. Itror exarnple, the
original green 1'lock wallpaper had been glued directly ro
the wooden limber liling such that shrinkage, along with
other types of wood move:nenl, could have put stfesse$
on the paper, leadilg to its possible early failure l'rom tears.
The method of attachmen: (descrihed il the next section)
rsed fbr the new green flock pilper was designed to averid
lhis completely.
The green .floc k wal lpaper
Sarnples of the 1746 wallpaper were analysed by
paper conservator and wallpaper manufacturer Allyson
Mcl)ermr:ll. Her tests showed that the green pigmenl was
malachite (basic copper carbonate); the r"esin, or varnish,
was sandarac; the llock libres were wool; and the paper
f ibres rvere a mix of linen and jute, with jute fbrming thc
bLrlk ol the nix. Tbsts to the adhesive on the back of tire
lot:ution.,r.
Freprints of $vnrprsirril 2{X}i}
9l
papcr showed the preseuce of boili a slarch aclhesive linri
an aninal glue. She was alsc able to prodr"ice a plr:cise fr.tc-
simiie ol'tlris wallpaper according to 18lh-c:entulr pr inring
rnethods derivecl from Robert lJossie's book lir: {luralnuii
to tht ,4rts (pubtished 1758 and 1764). Sherts otr'h;indr:ratl*
paper', 533 mm (21 in.) square, were pastccl together 1r)
lirrm lengths which were then grounded in varnish pigmented with matrachite" The lergths wcre par'tly slencilleci
in a contrasting blue varnish and block-printed with the
main pattern (Iiorx hnnd-carvecl wood blocks) in black
valnish. Chopped wool l-lerclc, dyed to the correct shade of
green, was slrrwn on{o th* lengths and then compressed
into the varnish witlr wooden rollers. 'fhis technique has
proirabl;, no{ heen employed much since 1840, when
niachine nrllullrctr"llirig melhods were introduced. Allyson
l4cDermoll's eon.ipiir.ly also urclerlook the installation o1'
tirr: paper and borilcr onto gr-ounds which had already been
prcparecl lix' lheur.'r'l'he tinrber lining was covered with
canvils, fixed to the lin"rber with stiiinless steel staples at thi:
edges only {i.e. rlarlo and cornice level anci corners)" To this
was glued a layer ol'lining paper, then a layer of ucicl-1ice
lining paper, ancl finally the green ilock paper. "fhe rdhesive usecl throughout was carbory rnethyl cellulose.
The paint schente
Patriek Baty of Papers and Paint underlook exanrinatitrn
r:f the paint layers with tire purpose ol'determinirrg llie lirst
paint scheme. Two hunrired anci lirur samples. dor.vn to llre
substrate materials, werc takcn t"cltn representatlr c arr-lLs
to see if ary areas had any picking in wilh other cr:lours
oi gilding. The loeations lrf nll trlrc samples were ni:rpped
out in the tinal report. Thc saniplcs werc mollnled in cle;rr
polyestef resil" sectioneii, and polished befbre exarninltion
by metailr-rrgical ruie:rosct)pe lo oompare layer struclure.
San-rples appearing to slrow thc full sequence of layers
were exanineel prrticular"ly e losely and compared with
samples that werc incorrplete or in scme way unclear.
Once the 1u1l serluence o1'painting had become clear the
pigrlents o1'the f irst scheme were identified visnally and
by polarizing nricroscope. Sarriples were then m;rde using
ncar'-original maleriais anrl compared with the exposeei
Fig,ure l
l.
Dett.t.il. o.l th.t:
gw:cn.llttck vttllfultt,r tutl xtntr of thc
fitmiture nad.t:.fitr tht' ntotn l;y .lumt:,t
I'rt,tt.u11.
first scherne colours. The closesl matches were then
measured usin51 a spectropholomcler and compared for a
malch againsl a clatabase, under continuous develripment
by Papers anci Painl. containing cielails of more than
2{lt) 0{X} coluurs. Patrick Baty's report concluded that the
cciling had been clecorated a total of seven times, and the
chir.nney pieces/overmantels and joinery had received two
more decorative schernes. For report purposeii and ii)r
gr-riclancc only, Patrick Saty provided exarlples o1'lhe
estirnaled closesl colour in the lJatural Colour System"''
The paint used by the decoralors, Llesp anri Junes" w:rs
rr"racle by Papers and Paint r"rsing materials and rnanulitcluring techniques consistent with the repofi's f indings and
the historical context o1 lhe decoraling lradcs.
The c'eiling
llorl lhc ceiling and
cornice. The llrst schenie appear"eri lu have been a distemper paint (gnrund chalk bounri with an animal glue size)
tinted with a snlall afiounl ol'recl earth pigrnent, producing
a pale warm srlmon crolour" This was apphecl uniformly
over the enlire cciling and would have had a matte finish.
Ninety-two samples were laken
The tomit:e
lt'igure l{). Gtnerul vitu, t4'llt.e I}i<:lure {}a!Iert' afier its
t
e,\t{}ft1li(}t1 ttt i.rs 1746 dct
orulir:t
.st.hefite
.
The cornice was painlecl in {he same colour distemper.
I{owever. thc vilruvian scroll rnotif, which lbrmed the
Preprints oi Symposiunr 20()0
lowest part of the cnrrics. was painted in an oil paint ol'
a sirnilar colour. Patrick Brly's theory is tlrat, as this part
o1'the c*rnice was so close to thc wallpaper, a vlscous
oil-base paint woulcl have been much easier 1o conlrol on
a brr-rsh than a more 1"1uicl tlistenrper, thereby reducing the
risk of paint splailer on the wallpaper.
Tltt joinen
Fil'ty-eight samples rvere taken fiom dool and
window cases and lheir architraves, dado, skirting,
and dadr rriouldings. For lhe flrst scheme lhe sarnples
revealed a whitc prirning coal and a finish coat of
untinted white lead oi1 paint. lt was proLrable that the
first scheme had a low sheen as no evidence for flatting
corld be found.
The ckimtze.v pieces and ovennantel.s
Forty-nine samples were taken" The first scheme on fhe
chirnney pieces was an unfinted white lead oil paint the
same colour and sheen as thal used on the joinery and
dado. on top ot'a white priming coat. The first scheme
of llre overnanfel also appeared to be of an untinted while
lead oil paint. but it is probable lhal it appeared slightly
cooler than lhe chimney piece. A grey primer was used
and darker arens o1'grel r einirrl wcrL- cne ()unlcrerl. The
original e11'ect thercfblc was o1'a pale grey overrnantel,
probahly ruarblecl. sitting airove a warrrrer ofliwhi:e
chimney piece.
collections rvithin againsl various dangers, the following
additional f'eatures were inslalled.
D i re c t p ht: s it' u l. .f r ; x: t: s-Thc furnitnre was ofien
louched by menbcrs o1'lhc public, knowingly or unconscit-rusly, as they goi close lc pictr"rres trl view them betterl
llrerefbre quality ork stanchiors wele nade, fitted with a
riark gleen rope, and installed arounti the perimeter ol the
r"oom til prolect the tLrrniture and the wallpaper (it seerls
a basic thing ltl cio. but there hari ireen a prejudice lglinst
using ropes, especially in this loorl).
Ctnlaminunts-Conservation qraliLy case covers were
installed on the needlework furnitu'e underneath lhe
Manchester check case covers.
Radiation-Ultraviolet lllters were irstalled on ail
the windows and blinds on the south-facing windows.
Other measures of a buildilg-wide nature were also put
in place:
Firc-The entire building was rewired in 1992;
llre alarm syslem was installed in 1997.
a telemetric
lVrrrr:r-The enlire buildirig is being re-roof'ed, with
cornplelion expeclecl sonetine in 20tX)"
Pe.rlr-An integral*d pr:st management p:ogram
wlls put :in place.
Environmenfsl-Radiation, temperature, and relative
hurnidity are being monitored by a telernelric syslenr
suppliecl by Hanwcll lnstrunrenls l-td.
Conclusions
The rJoors
Itrive samples were takel. The first scheme on the doors
was a dark chocolate brown oil paint made up with red
ear"th pigment and carbon black. This was in an oii-rich
:nedium, rvhich would have given a shinier finish than
on the rest of the joinery.
Rehanging tke rtsom v,itk pictures
The arrangement of paintings was very carefully thought
out in the lBth century.': Pair.rlings were seiected for their
size. subjecl matter, colouring, country of origin, ancl daie.
This rehang was eclually eareful, re-using all the surviving
pictures from the 1750 arrangemenl, and irtroducing others
1o replace those that lett th* housE in 1922. The dominating
patlern of the flock r.vallpaper demanded thal thc positiorr
ing of paintings and llrnitule on inclivirlual seclions of
wall be syrr-rmetrical" The arrangement loclay is as close
as possible lo that wlren the Picture Callery was f irs(
{'inis}rerl
in
17.16
A building is the first and principal means of prolection lbr
collections and heritage interiors, and a roof is a building's
sou'-wester. The nuch neglected exterior atTemple
Newsam, pa*icularly the roof, had reached a crilical state
by the early 1990's. A11 conservation work inside would
have been undermined by a poorly maintained building,
and the r.var agaiast detelioration could never be won
unless a positive eff'ort was rnade towards upkeep.
Maintenance needed to be relentless ancl correctly
afier 8 vears of wot'k.
The future
The days wher curators and olher custodians of cultural
nraterial coLrld give f-ar" more thought to their ward's past
than to its future are largely gone. Today, reducing rates
of loss (i.e. preventive conservation) is an important item
ol the agendas of most museum professionals. To protect
both the restoralion work on the Picture Ca1lery and the
Prepri:rts of Symposiunr
20{.X)
Figure 12. Re-roofing of the north
w*ing.
specified. The fact that it is being dealt with now in an
organized way. basecl on surveys by an appropriately
experielcerl architr:cl, is largely due to Artholy Wells-Cole
(with directorial backing) in getting it onto the councillors'
agenda. Al application ln 1998 tr; the HeriLage l-oltcry
Fund lbr a granl to restore fhe deteriorated external labric,
renew the heating systerl-r to include conservation heating
principles,"' improve disrbled access, provide innovativc
interpretation and educalion f"acilities, and l'inish the
program of room reslorations was partially successful. A
granl of f 1.3 million (as 507c ol lhe projected f2.6 miliion
required) was awarded lbr the {lrst three projects. The
balance is being provided by Leeds Crty Council. Room
excavatioas and restorations are ongoing at the time of
writing, and it is to be hoped lhat they will continue"
Getiing the historic architecturai f'eatures and interiors
right is every bit as important as the conservation work
o:.r lhe collections. Dividends from this program are
rnanifold. The collections and house interpreted, and
presented, as a unified whole gives visitors a far more
enriching experielce. Most importanl is the contribution
of this program to breaking the cycle of decay and neglecl.
The downward spiral can be reversed by snall successes
built on each other.
3.
Cilbert, C. Furnitw"e at Templ.e l"lew,sam House and
tr-otkerton J1ol1. Pulrlished joiltly by the Nalional Arts
Collections Fund and thc Leeds Att Collections Funcl,
Volumes I and ll in 1978 and Volurne lli in 1998.
4"
Notes *nd photographs by Philip Hendy in the
curalorial librar"y at Temple Newsum
"
5.
Countr,- Hottse Studie,s Number,/" Leeds: Leeds City
Arr Callcric', l9lt.1.
6.
Te
mp I e N ew
s
am
Co
untt
"'v
House Studies Number 2. Leeds: Leeds City Art
Gaileries, 1985.
7.
Gilbert, C., J. Lomax, and A. Wells-Cole. Country
House I loors I660-l 850: Temple Newsam Countr
Hottse Studies Numher J. Leeds: Leeds City Art
y-
Caileries, 1987.
8.
Cilbert. C", J. Lonax,
.1. Rutherfcrd, and A. WellsL'ole. Cr;r,rnlr'y H ou s e Lig h.t i n g I 660'- I B90 : Tenrlt l.e
Nev,sttnt Countr,- lf ouse Stwlies Num.ber 4. l,eeds:
Leeds City Art Calleries, 1q92.
and Anthony Wells-Cole
for encouraging my interest in historic interiors. For
financial assislance. I thank the Museums and Calleries
Improvenent Fund in conjunctiol with the Wolfson
Folndation and the Wolfson Family Charitable Trust
for their grani towards the Picture Gallery restoration.
Giibert, C., J. Lon-rax, and A. Welis-Cole. I/re
F a s h i onab I e F ire p I ac e :
Acknowledgements
I thank all my colleagues
Wells-Cole. A. Histori<: Puper Hangings.from.Temple
Newsnm urtd other English I{ou,ses: Tbmple l{ewsam
9.
J" "lingland in Arnerica." Country Life
(August l7), 1995.
Cornfofh,
10. Temple
New,sanz papers, West Yorkshire Archives.
Reference TN/EA l3l1 74.
Endnotes
1.
Historic informalion aboutTemple lVewsam is to be
found in a number of differe:rt locations, especially
in nrmerous articles it the Leeds Arts Calendar
{1946-1995) ard Leeds Museum,s and GaLlertes
Reyiew fi'om 1998; also guide books, books,
articles, dissertalions, ald calalogues. These are
in the curatorial library atTemple ly'ew,ian. Other
principal archive sources are the Tent.pl.e Newsam
pape.s al the West Yorkshire Archive Service,
Chapeltown Road, l-eeds LS7 3AP; the Marquess
of Hertlbrd's papers al the Warwick County Record
011ice, Priory Park, Cape Road, Warwick CV34 4JS;
the Harl of Hali{ax's papers al the Borthwick lnstiLute,
U:riversill' of York, St. Anthony's Hall, Peasholme
Creen, York YOI 7PW; ard the Meynell family
papers, Staffordshire Counly Record Office,
Eastgate, Stafford 3T16 zLZ.
2"
Hendy, P. Treasures .frow Yorkshire Houses.I-eeds:
Leeds City A* Gallery aad Temple Newsam House,
i 938.
11. Temltle Newsam papers. West Yorkshire Archives.
Reference TN/EA 12110.
12. Connell. D. The Collection of Paintings made
b1-
the
Ingrrmt Famil1 rzt Tentple lr,[evtsan, l{ouse .l'rc;m the
lTth to tlze 20th centuries. Ph.D" thesis, University of
Leeds Fine Art Deparlmerit, 1992.
13. Doya1, S., and M. Sanditbr"d. "Architectural l-i:rings
ancl Backings." pp. 60--66 in Linin.g un.d. Batkin.g:
The Suyrytort o.l Puintings, l:)aper and Texlilt:s: Papers
rlelivered u.r thc UKIC {on.fbrent:e, 7-8 lr,lovember
1995. London: United Kingdom lnstilute {or
Cr:nservation, 1995.
14. This systenl of colour notation was developed by lhe
Scandinavian Colour Insaitute and is licenced to lCl
(Dulux) Paints. Trade Technical Departrnent,
Wexham Road, Slough, Berkshire SL2 3DS.
15. See Endnote No. 12, pp. 5,1-56.
Preprints
o1'
S1'mposiun
20{.X}
16. Staniforth. S., B. Hayes, and L.
Blllock. "Appropriate
Technologies for Relative Humidity Contr"ol fbr
Museun Collections Housed in Ftristoric Builclings."
pp. 123-128 in Pre,-en.tit:e {)onservatktn: Prut:tice,
Thettrt und Researth. llreprints of tlrc Contributions
Itt the Ottavya Congre.ss, l2-16 Septeni;er 199,1.
Loldon: Xnternationll lnstilute for Conservation
Historic and Afiistic Works, 1994.
tl
issue,t
Ercavations ;rnd roon restorations iurn rooms into
huilLling sites. Couimon sense and legislativc safety
tneasures should be applled rigorously. I-arge amounls of
dlst and debris can accunrulale in voicis in historic buiiriings, especially around fireplaces. Old fixings, nails, and
screws can callse injury. Structr-rral integrity may need to
be assessecl Lry il pl"o1'essional. The location of all services.
especially electricity" must be known" The fo11ou ing
hazards lnny be present: mercury where there has beerr
a mercury-silvered miLror or a bnrometer; lead pairrt;
biological hazards from vermin such
Cotttrut:fors
Robert Aagaard, Period Architectural l)esigners, Manor
Housi:. High Birstwith, Harrogate, North Yorkshire
HC3 21-C: restoration of danaged carved stonework.
Patrick Baty, Papers nnd Paini, ,l Park Walk. London
SWl0 OAD: paint analysis and supply o1'fhe painrs.
http ;\\sites. net scape. nel\coi ourman\h on'repage
c-m;ri 1 : prb @ colourman.c0m
Conlext lfrbavers, Parh Mill, Holccmbe Road,
Helmshore, Rossenriale. Lalcashire B84 4NP: analysis
of original case cover materials and weaving of r:raterial
lor new covers.
Hesp ancl Joues, The Cedars, Beningbrough, York
Y06 IBY: painting, canvas and lining paper, and marbling.
Rosalie F{ill. 23 Stray Towers. Vicloria Road, Harrogate
HG2 0l-W: f'abrication of case covers fbr suite of furniture.
Mark Mmirtt, 9 Farm Rotel, Crossgates, Leeds
i.Sl5 7l{D: consolidation ol plasterwork.
Allyson McDermott, The Sattery House, Petworth House,
West Sussex CU2B 0DP; wallpaper analysii;, manufacture,
and hanging"
Sun-X (UK) Ltd., Madeir"a Farade, Madeira,A.venue,
Bognor Regis, Wesl Sussex P022 8DX: venetian blinds
ar:d UV filters.
o1'
Hanwell lnstrumenls, l2 Mead Brsinsss Cenlre. Mead
I.ane" Hertford SClS 7Bi: telemetric ervironmental
nlorritoring systern"
Sy*rposium 200{)
Peter West, New llarn, l{ew House Lane. Easi Dcan. near
Chichester. Wesi Sussex POlS OJO: turned oak stanchions
for barrier system.
Staff
Anthony Wells-Cole: over:tll project management.
IJavid Fluclson and technical statf : movement o1'arl
works. 1'urniture. ancl overmantels" remcval o1'red ciamask
and hardboard.
as rats and birds"
Personal proteclive equipment is therefore esseilli&1.
Preprints
Sultpliers
W.R. Outhwaite rnci Son. Ropemakers. Town Foot, Hawes,
North Yorkshire I}LS 31,{T: green rope {br barrier sy$teil.
Appendix
tles{th und safety
Thompson and Walker, Guiseley, Leeds (no longer
tratling): supply and installaliun of the tirnber lirririg.
Ian Fraser: lurniture and joinery conservaliorr. supervisior.r
of veilunteers, ijonservation input to projecl specifications.
.lenny Hack: pic{ure conservaiion and tiame cieaning,
rrrpervision ol' r olrrnlt'c|s. conscr\ rtion input 1o f r(leut
specifications.
V;lunteers
Andrew Hunt, Conservator of Furnilure and Gilding,
Marchester City Art Galleries, Queen's Park Conservation,
Harpurhey, Manchester Mq 5Sl{ (appointed 1997;:
carving of rnissing dado and skirting mouldings.
Karen Haslervcod, conservlitiol sludent: picture cleaning
and fianre cleaning.
Ana Montes, conservation studeni: picture cleaning
anel
iiame cleaning.
C ov
e
rnnzent etdvi
s rs
ry
b
od i t s
ilnglish Heritage, Fofi:"ess House, 23 Savile Row"
l-ondon WIX 2HE.
Royal Commission on the Historiciil Monunients
o{'Eng1and, F'ortess House, 23 Savile Row. London
wrx
2JQ.
l\ofe: Unforlunately I am unable to deliver this paper
in person at the conference, so Anthony Wells-Cole has
kindly agreed t0 present it for ne"
95
Rdsumd
Hestauration de la galerie de tableaux it
Temple Newsam, au Yorkshire (Angleterre)
Temple Ncwsum est un grafi.d mun.oir de cantpagnc et un
€difir:e enregistr€ de Classe I , qui e,st deventr kt propri€td
du Con.te il municipo! de Lteds en 1922. Fendant son
omdnoge mtnf (t)nlme musde tl.tts heuux-arts et des arls
tidcoratifs, bon norntsre de ses inl(rieur.s historiques
ont 6ti r{t.dir:dlement lransform.{s. En 1983, de nouvelles
{tttitu{les, une nou,veLle direction t:t des t:|ttmgentents
dans La politiqLte d'utquisition ont (oilduit ti un nouvenu
programlnc pour |u resleLLrotiot't tlcs Ttiir:es ,selon les
plans de tldcoration et le mobilier d'uvunf 1922. Jusqu'i<:i,
dottze piices ont 6ti re stqurdes, l.e point cul.m,inant dtaril ltt
re sluttration de la galerie tle tableuur {l.n plur^ importdnt(
sull.e rJe ce
rlpe
en,
An.glete.rre). Cet artir:l.e expose le
dossier de La galerie cle trtbl.eaux h Templ.e Ne*'sam aktrs
que I'on rAktblissait le plan tl€coratif de 1716 au cattrs de
L'unnie 1996. Des renseignewents repl(l{ut1t l.'itlifice dans
sotl {onlexte historique el un (lperqu de,s trtrnsfbrmutions
tl'apris 1922 sont {g,alenrcnt
9(r
dann6s.
Prepri:rts of Symposiun 2{}0(i