A collaborative conservation project is an alternative approach for treating artwork or objects having unique combinations of materials, artistic techniques, or structural problems. Emily Carr's landscape painting, Somewhere, required the division of treatments to be accomplished separately by two specialists, Rebecca Pavitt, a paper conservator, and myself, as a painting conservator.

Emily Carr, Somewhere, prior to conservation treatment

Emily Carr, Somewhere, after completion of conservation treatment

Sample of heritage-style frame, c. 1930, favoured by Group of Seven member Lawren Harris

Emily Carr often painted with oil paint applied directly on a sheet of paper. This artist frequently used animal glue to attach the paper onto a piece of plywood. Attaching a paper support to a piece of plywood can harm the painting's condition. In this case, a seam in the plywood panel caused a split in Somewhere's paper support. Prior to conservation treatment, this landscape had tears, edge loss, nail holes, and overpaint covering old repairs. Strips of wood were nailed into the painting's paper and underlying plywood. Accumulated dirt and a glossy varnish were observed on the surface of the painting.

The first stage of treatment was delegated to the paper conservator, who softened the animal glue and separated the painted paper from the plywood. The split and tears in the paper were re-aligned and mended. The artwork was cleaned to remove dirt. Nail holes and losses were filled with a paper pulp. The completion of Rebecca's treatment included backing the landscape with Japanese paper, and securing the painting to rag board panel for additional support.

The next phase in the conservation treatment was transferred to my lab. The painting was tested and customized solutions were employed to thin and remove further dirt and the glossy varnish layer. Overpaint covering old repairs was softened using a gel intermixture and removed. The final stage of conservation treatment entailed inpainting the repaired and missing areas.

To complete this cycle of collaboration, another specialist, Brian Dedora, a master gilder and custom framer, was enlisted. A 1930's moulding used by Lawren Harris was selected by the painting's owner. After examining the Carr painting, Dedora finished the frame's surface with a white gold leaf having a mellow cast, and an underlying maroon toned base. British gilders of the Victorian age added graphite to red clay to produce a remarkable wine or maroon coloured undertone. This maroon undertone was selected for the frame (as it coincided with the maroon colour evident in the Carr landscape) to produce an overall harmonious effect.

A collaborative project finds its success in the combination of expertise and experience brought to it. On many occasions Rebecca Pavitt, Brian Dedora and I have resourcefully worked together on comprehensive projects.

Previously: Malaspina Mural: An Update
Next issue: Emily Carr – A Detective Story