Mr. Maher Dadha of Bangalore brought to the Hepzibah Institute of Heritage Conservation, Chennai-600 078 for preparing an estimate on the restoration of the oil painting on canvas, Siva by Raja Ravi Varma on 9th November 2011 and requested the Director of the Hepzibah Institute of Heritage Conservation to give an [...]]]>

Siva on Meditation after Restoration

Introduction

Mr. Maher Dadha of Bangalore brought to the Hepzibah Institute of Heritage Conservation, Chennai-600 078 for preparing an estimate on the restoration of the oil painting on canvas, Siva by Raja Ravi Varma on 9^th November 2011 and requested the Director of the Hepzibah Institute of Heritage Conservation to give an estimate for the conservation and restoration of the same.

Details of the Painting, Siva

The painting is depicted as if Siva is in tapasu sitting under a treat at the mountain side where the mountain tops are covered with snow. He is holding a garland in his fore left hand and his fore right hand is with abhaya mudra, while his hind left hand is hold a chapla and his right hind arm is holding a vessel. He is sitting with a tiger’s skin girded along his waist. The signature of Raja Ravi Varma is in the lower left side of the painting in dark red colour with the date as 1903.

Dimensions of the Painting

The painting is 77 X 56 Cms. It is with only a stretcher frame and a backing. There is no outer frame and front glass.  It has got a backing with a hard board.

Condition of the Painting

The painting is in a very bad state of conservation.

1. It is fragile due to acidity.
2. It is heavily cracked.
3. It is highly abraded.
4. It is eaten up by rat and the bottom of his seat is lost to an area of 33 X 13 Cms.
5. There another rat eaten portion above Siva’s head at a distance of 10 Cms to an area of 9 X 4 Cms.
6. There is a loss of canvas at the left front muscle a two small tear of size 1 X 1 Cm is noticed.
7. The stretcher frame impressions are visible and the pigments along the impressions are also found abraded.
8. There are water marks from top to bottom at the left hand side of the painting.
9. All the four edges are abraded and fragile.
10. There is browned varnish on the surface of the painting.
11. There is no sign of earlier restoration.

The canvas is very fragile and it is presumed that the painting had been with the owner for a long time neglected. This painting has not come to light in any one of the books on paintings of Raja Ravi Varma.

Proposed Treatment of the Painting

Since the canvas is very fragile, the surface of the painting should be very carefully dusted with a smooth hair brush and cleaned with semi most cotton swab and cleaned superficially on the surface of the painting without disturbing the loose paints and canvas. The rags like torn canvas need to be brought to position and fixed in position very carefully. Fine tissue paper is pasted on the surface very carefully with the help of carboxy methyl cellulose in water. When the front facing is dried, the painting is kept on a soft sponge like cloth bed upside down and the backing has to be removed and the stretcher frame should be removed very carefully. The canvas should be removed from the canvas very carefully and the back side of the canvas need to be cleaned with the help of a vacuum cleaner, very fine emery, soft eraser, semi moistened cotton and finally with cotton swab moistened with rectified spirit very sparingly.

A fresh canvas of similar weave count should be chosen for giving support to the old canvas. The new canvas should be seasoned by soaking it in water, stretching it on a stretcher frame, drying it and the whole process is repeated until the canvas on drying should not sag. Mastic resin and bees wax should be taken in the weight ratio 1:3 and melted in a milk cooker keeping water inside the two walls of the milk cooker. When the resin-wax mixture is molten, it is poured through a net and allowed to cool. Then it is melted and the molten resin-wax mixture is coated at the back of the original painting and the new canvas also coated likewise. When the coating is  over, the coated sides are kept facing each other and it should be heated with the help of a hot iron heated to around 60-70°C. When ironing the iron box should move from the centre to the sides. After covering the whole area, plain thick glass will be kept over the painting keeping an oil paper. When it is cooled for a day, the painting should be kept in the right direction ie the painted surface looking up. The tissue paper front facing will be removed very carefully and the paste used should be completely removed.

The torn portions should be in-filled with zinc white and linseed oil and the lacunae should be filled with that layer by layer after each layer is dried. The in-filled area should be rubbed very carefully and the in-painted should be slightly lower than the outside. After proper drying, the in-filled areas should be properly retouched. The cracked portions should be subsided if it is bad by passing acetone fume through a funnel inverted on the cracked area and keeping over it a weight to keep the painting flat.

The stretcher frame should be cleaned and the insect holes should be filled with wax mixed with an insecticide. The canvas painting should be fixed to the stretcher frame with stainless steel nails or copper nails.

The restoration of the painting was carried out as mentioned earlier. It has taken around 6 months for the completion. It was handed over to the party.

Siva on Meditation before Restoration

Siva on Meditation after Restoration

Introduction

Ms. Sridevi Kalyanasundaram, 38, Kuntrakudi Nagar Main Road, Adambakkam, Chennai-600 088 contacted Dr. V. Jeyaraj, Director, Hepzibah Institute of Heritage Conservation, Chennai-600 078 through her cousin Ms. Neeraja to examine Thanjavur paintings with them at their residence. As [...]]]> SUGGESTED RESTORATION OF FIVE THANJAVUR PAINTINGS WITH MS. SRIDEVI KALYANASUNDARAM, ADAMBAKKAM, CHENNAI

Introduction

Ms. Sridevi Kalyanasundaram, 38, Kuntrakudi Nagar Main Road, Adambakkam, Chennai-600 088 contacted Dr. V. Jeyaraj, Director, Hepzibah Institute of Heritage Conservation, Chennai-600 078 through her cousin Ms. Neeraja to examine Thanjavur paintings with them at their residence. As per the request, Dr. V. Jeyaraj went to the residence of Ms. Sridevi Kalyanasundaram and examined the five Thanjavur paintings. The suggested conservation/restoration is appended herewith.

Details of the Thanjavur Paintings

Condition and Suggested Treatment to the Paintings

The problems of the paintings are different and therefore the treatment also will differ from one painting to the other.

Conclusion

Since the paintings are more than one hundred years, it is mandatory that the painting should be registered with the Registering Officer, State Department of Archaeology, Chennai-600 008, if not yet registered in the Register of Antiquities.

The students [...]]]> The Hepzibah Trust, 21, V.O.C. Street, M.G.R. Nagar, Chennai-600 078 is planning to conduct an Art Competition for school students from LKG to 12th standards. The students will be grouped into five as 1. LKG and UKG 2. I to III, 3. IV to VI, 4. VI to VIII, 5. IX to XII.

The students who would like to participate in the Drawing Competition may register their name with the Hepzibah Trust office in telephone number 044-24742223/9841119845/9381008253. Best creations will be awarded prizes and certificates and participation certificates will be given to other participants. Best drawings will be on sale on the day of e given only the final day function. Students will be given only drawing sheets.

Come, and let us build up the wall of Jerusalem that we be no more a reproach.

We keep before the children of God a marvelous thing which Our Lord Jesus is going to do in the near future to glorify His name through humble servants of God in the suburb of [...]]]> Praise the Lord!

Come, and let us build up the wall of Jerusalem that we be no more a reproach.

We keep before the children of God a marvelous thing which Our Lord Jesus is going to do in the near future to glorify His name through humble servants of God in the suburb of Tambaram, Chennai, India.

We believers from the Believers’ Gospel Fellowship proclaimed the gospel to the people of M.G.R. Nagar in Selaiyur about six years back and many accepted Jesus Christ as their personal savior. The congregation assembled in one of the believers’ house. In 2010 January 1, we leased a hall for our Church and the believers worshipped there. From 2010, Bro. S. Natarajah @ Elijah (+919543162719) from, who was a lawyer and a politician in Srilanka received the calling from Jesus Christ and is serving our Lord in this area.

The place where the Church is located is a place where all sins are prevalent. We need a big church as the existing one is not sufficient. With the funds available, we have leased a land near the existing Church to build our church. The work has to be started very soon in April 2012. The work costs Rs. 2 lakhs. The present leased land of about 1800 Sq. Ft costs 30 lakhs. We have another larger piece of land of 2 grounds (4800 Sq. Ft.), which costs Rs. 1.2 crores. We are earnestly praying that our needs are met marvelously.

We intimate this as you love the Lord’s ministry and we feel that you have a major role in the transformation of the people in the locality to be the children of God. You can carry out the will of God with prayer in the purchase of the Land/building the church at the present site.

We have planned to start the building work on 19^thApril 2012. Kindly pray for this great work in your family and Church enabling us to have the church consecrated in May 2012 itself.

We have got an account in the name of Ramachari and V. Jeyaraj in the Punjab National Bank, Selaiyur, Tambaram, Chennai-600 073. The S/B Account Number is 4557000100017666. If you are led by the Lord you may kindly transfer the money to the above account or send the DD or cheque in favour of B. Ramachari and Dr. V. Jeyaraj addressed to Dr. V. Jeyaraj, 21, V.O.C. Street, M.G.R. Nagar, Chennai-600 078. India.

Coordination Committee,

Believers’ Gospel Fellowship Church,

23, Valayakkara Street,MGR Nagar, Chennai-600 073.

E-mail: drvjeyaraj@gmail.com

Mobile: +91-9381008253

On examination it is found that the painting had been restored earlier and retouched with water [...]]]> The Hepzibah Institute of Heritage Conservation has received an oil painting on canvas of size 121X91 Cms painted by M.A. Azeez in 1901 without frame has been received for conservation and restoration on 2nd April 2012.

On examination it is found that the painting had been restored earlier and retouched with water colours. It is cracked and damaged very much.Cupping is noticed; flaking found; The stretcher frame marks are seen in the painted side. It had been repaired with black coloured adhesive take at three points. It is covered with full of dust and dirt.

Nothing is known about the artist. If any information about the artist is known it is well appreciated.

There is one reference that Swami Vivekananda had been to Srilanka in 1901. His meeting with the Srilankan king would have been painted by the Artist, M.A. Azeez.

The paintings were removed from the original support as it was weak. The removed painting from the panel was supported by a seasoned mull cloth with the help of reversible [...]]]> Dr. V. Jeyaraj, Director, Hepzibah Institute of Heritage Conservation, Chennai received two Thanjavur paintings for restoration. They were attacked by insect, fungi, fading, cracks etc.

The paintings were removed from the original support as it was weak. The removed painting from the panel was supported by a seasoned mull cloth with the help of reversible paste after strengthening the wooden panel.

The painting had lost many stones. Suitable stones were used to fix them in the stone lost points. The loss of paint was in-filled and retouched suitably.

The paintings were protected by Paraloid B 72 and water treated to remove water [...]]]> Dr. V. Jeyaraj, Director, Hepzibah Institute of Heritage Conservation, Chennai received two Mysore type of paintings for restoration in the Institute. They were all insect attacked and were found damaged severely. These paintings were damaged by water attack, insect attack, neglect etc.

The paintings were protected by Paraloid B 72 and water treated to remove water stains, dried, the coating removed and given a acid-free   board support and restored by in-filling, colour matching with the surroundings etc. They regained their pristine beauty. Even though it was a tough job, the restoration work was quite satisfactory and rewarding.

A Painting by name Vivekananda with a King by Artist, M.A. Azeez painted in 1901 was received by Dr. V. Jeyaraj, Director of the Hepzibah Institute of Heritage Conservation (HIHC), Chennai on 02y -04-2012 and the same was subjected to physical and chemical examinations at the Institute.

Details of the Oil [...]]]>  

A Painting by name Vivekananda with a King by Artist, M.A. Azeez painted in 1901 was received by Dr. V. Jeyaraj, Director of the Hepzibah Institute of Heritage Conservation (HIHC), Chennai on 02y -04-2012 and the same was subjected to physical and chemical examinations at the Institute.

Details of the Oil Painting on Canvas

The oil painting on canvas is a large one with a size 122 X 91 Cms. It is without a frame. The subject of the painting is Vivekananda is standing in front of a king who is sitting with a sward in his right hand. The stretcher frame is rigid frame and it is not Mortice and Tenon type. The name of the artist is M.A. Azeez and the date is 1901. It is learnt that Swami Vivekananda visited in 1901, Sri Lanka and it would have been painted in Sri Lanka.

Condition of the Painting

The oil painting on canvas revealed on examination the following defects in the various layers of the painting:

Protective/Varnish Layer

There is no visibility of varnish or any protective layer on the painting. Due to age the varnish would have been worn out.

Paint Layer

1. The paint layer has accumulated dust as the surface is very badly damaged.

2. The colour of the paint layer is terribly faded.

3. The paint layer is cracked severely and at most of the points the painting had flaked.

4. There are insect accretions.

5. Due to water damage the painted layer is attacked by fungi.

6. It had been repaired and applied fresh colour and the colour is bleeding.

7. The damage in the canvas at the head of the king is filled up and retouched.

Ground Layer

The ground is also very weak and in most of the areas the ground layer is also visible. There is no adhesion between the paint layer and canvas.

Support/Canvas Layer

The support is cotton canvas and is dark brown in colour. It is damaged due to water attack.

The canvas is wrinkled.

The canvas is loose and sagging.

The tears in the canvas are stuck with adhesive tapes.

The canvass is very weak.

Due water attack the colour has bled.

Proposed Treatment of the Painting

The painting will be superficially cleaned with a soft brush and front facing will be done with tissue paper and carboxy methyl cellulose paste. If the retouched paint is of water colour then poly vinyl acetate or Paraloid B72 will be used for sticking. After drying the nails will be carefully removed and the stretcher frame subsequently. The dust and dirt at the back will be removed by vacuum cleaner. The tape will be removed with the help of a suitable solvent. The surface dust and dirt will be removed by rubbing with a smooth sand paper and stains will be removed by solvents.

Relining is needed in the restoration of this painting. A suitable canvas similar in weave count will be taken and trimmed to slightly larger than the original canvas and seasoning will be done by soaking in water and drying after fixing in a frame and drying. This will be repeated till there is no sagging of the canvas on drying under shade.

When the canvas is well seasoned, mastic resin-beeswax adhesive prepared in a milk cooker will be applied very carefully on the canvas and spread uniformly throughout the canvas. Similarly the old canvas at the back will be applied with the resin-wax molten mixture with a brush and uniformly spread throughout the canvas. After allowing them to cool, the new canvas will be super imposed on the backside of the painting and ironed at around 70 degree centigrade. All air pockets will be avoided and a glass plate will be kept on the new canvass and left for at-least over night for setting. The canvases will be stuck together by this.

The front facing will be removed from the surface of the painting with the help of water or organic solvent depending upon by which method the pasting was done. After completely removing the paste and paper, the damages will be filled with putty to match the level with the surroundings. The cupped up portions will be softened with the help of organic solvents and flattened and joined. Where ever the cracks are found the gaps will be filled with a suitable adhesive like poly vinyl acetate or Paraloid B 72. If the gap is large, then the gaps will be filled with zinc oxide putty with linseed oil. The putty after drying will be rubbed gently so that the putty applied portion is slightly lower that the surroundings. The in-filled portions will be retouched suitably with acrylic colour matching the surroundings.

A new stretcher frame will be made and the canvas is fixed in position. Due to the Mortice and Tenon type of stretcher frame the canvas will be tightened. While nailing the edges care will be taken to keep a tape running through the edges just over the canvas in order to avoid any damage to the painting while removing, if needed. A matt finish varnish will be given as a protective coating.