Elizabeth Glander
2023-2024
ICA - Art Conservation
Supervised by Andrea Chevalier and Wendy Partridge
Andrea is the Director of Conservation & Head of Paintings Conservation
Wendy is a Paintings Conservator
Lecture Chart 2
Archibald Willard
c. 1870s
Distemper (est.) on canvas
11 ft x 13 ft (H x W)
Spirit of '76 Museum
BT recto
Image Credit: ICA
BT verso
Image Credit: ICA
ICA - Art Conservation was contracted by the Spirit of '76 Museum to treat a lecture chart by Archibald Willard (1836-1918). The lecture chart was commissioned by the Free Masons in Wellington, OH in the 1870s and is one of three charts in the museum. The lecture chart was used to impart Masonic teachings. It is unknown how it was originally displayed, however, puncture holes along the top of the lecture chart suggests that it was likely hung at some time. After discussion with the museum, it was decided that no loss compensation or inpainting would be undertaken because of financial reasons.
This treatment was supervised by Andrea Chevalier, Director of Conservation and Head of Paintings Conservation, and Wendy Partridge, Painting Conservator. Andrea wrote the condition report, treatment proposal, and treatment report. I assisted with editing the treatment report to include images of my work. There were some elements of this treatment that I could not perform because I did not have appropriate personal protective equipment (PPE).
Condition Summary
Support
The canvas is a thin, plain weave fabric and is likely cotton. There are three horizontal seams connecting the four panels of canvas.
Overall, the canvas is in good condition and still flexible. There is minor fraying along the edges of the canvas. There are small holes and impressions from tacks along the top edge, likely caused from being displayed at some point. The canvas has many shallow wrinkles throughout the canvas as well as additional small holes and tears throughout. Both sides have surface grime.
Ground and Paint
There is no ground layer and the distemper paint (est.) has been applied directly to the canvas. The paint is loosely bound and has a matte appearance with uniform and fluid brushstrokes.
There is significant paint loss along the upper left and right corners as well as the upper edge. Additional paint loss throughout the painting was likely caused by creases and abrasion. The painting has dark vertical stains and tidelines on the left half. There is an even layer of surface grime covering the painting.
Coatings
There are no artist applied surface coatings present.
Archibald MacNeal Willard (1836-1918)
Willard was born in Bedford, OH on August 22, 1836. Upon moving to Wellington, OH in 1855, he taught himself how to draw. Then in the early 1860's, he was an apprentice to a local decorative artist and wagonmaker. Willard enlisted in the 86th Ohio Volunteer Infantry in 1863 and served until February 1864. Upon returning to Wellington, Willard started painting again and became a popular artist. In 1876, he produced his most recognized painting, Spirit of '76. Willard died on October 11, 1918.
Case Western Reserve University. n.d. "Willard, Archibald MacNeal." Accessed December 14, 2025. https://case.edu/ech/articles/w/willard-archibald-macneal.
Archibald MacNeal Willard (1836-1918)
Image Credit: Wikipedia
Surface Cleaning
The size of the painting was challenging because there was no surface which could support the entire painting. An 18-inch diameter tube was used to roll part of the painting onto it while the rest of the painting was treated. Once one portion of the painting had been treated, many of the conservators at ICA assisted in rolling and unrolling the painting so that more of the painting could be worked on.
The recto and verso was cleaned using cosmetic sponges. The red distemper paint was friable and could not withstand more than two to three strokes of the sponge. I created a grid system using thick, synthetic thread to keep track of where I had surface cleaned.
Left is before surface cleaning. Right is after surface cleaning.
About 8 feet of the mural was unrolled face up for surface cleaning. A grid system was used to keep track of where surface cleaning had been performed.
Humidification
To relax the creases in the canvas, damp blotters were placed on the verso with Plexi and weights for about 20-30 minutes. Then dry blotters replaced the damp blotters and left for about 24 hours. Tight creases were moistened with a slightly dampened paint brush and then ironed dry with a tacking iron. Dry blotters, Plexi, and weights were placed on top for about 24 hours.
Dry blotters with Plexi and weights on top of the painting to help relax creases.
Reinforcing Tears and Holes
Tears and holes were reinforced on the verso with rayon tissue coated with BEVA 371. The tissue patches were cut to the size of the hole with rounded corners. A tacking iron (set to about 55C) was used to secure the patches in place. Silicone coated Mylar was used as an interleaf between the canvas and iron as well as the canvas and table.
Mending tears and holes with rayon tissue coated with BEVA 371.
Image Credit: Wendy Partridge
Consolidation and Edge Lining Preparation
To consolidate the friable paint, a 2% solution of Paraloid B72 in ethanol was used. Five coats were sprayed onto the surface of the painting by Andrea and Wendy with each coat allowed to dry before the next layer was applied. Then PeCap 7-330 fabric was prepared with five coats of BEVA 371, diluted 1:1 with benzine. Each layer was rolled onto the PeCap with a paint roller and allowed to dry before additional layers were applied. Because I did not have appropriate PPE, I did not participate in these step.
Edge Lining
Eight-inch-wide strips of the prepared PeCap were cut with pinking shears. The strips were attached to the edges of the mural with a tacking iron (set to about 55C) and extended onto the painting verso about 1-1.5 inches.
Placing the PeCap strips for edge lining.
Corner, before it was heat set.
Corner, after it was heat set.
After Treatment
A wooden strainer with Coroplast panels was constructed to support the mural. The disassembled strainer and mural were transported to the museum to be reassembled and stretched inside. I had moved to another internship at this point and did not participate.
AT recto
Image Credit: ICA
AT verso
Image Credit: ICA
AT strainer with Coroplast panels.
Image Credit: ICA