Waco Cotton Palace: Backing Removal & Cosmetic Re-Integration of an Architectural Watercolor

TREATMENT REPORT --> TREATMENT PHOTOGRAPHS

TEMPORARY ID # 04-02
Date:    1/22/03                            

Owner/Custodian: Alexander Architecture Archives
Address: The University of Texas at Austin
Curator: Nancy Sparrow
Telephone: 471-4621
Owner/Custodian Call No.:     56 C
Title/Subject/Description:   Accepted Competive Design for Waco Cotton Palace   
Creator: James Reily Gordon (San Antonio) and Sam P. Herbert (Waco), Associated Architects
Date of Production: [unknown]
Place of Production: [unknown]
Approximate Dimensions (hxw):   16.5 x 35.8 inches (41.7 x 91.4 cm)
Conservator: Holly Robertson

TREATMENT PROPOSAL

Treatment Objective
To improve the physical and chemical stability as well as to provide ease of access and a new mat and housing for the fragile watercolor.

Description

Media
Watercolor:
Watercolor pigments, thinly applied in most areas, are present in three main colors: black, red, green.          

Black ink:
A[n architectural] drafting pen annotation in carbon black ink the top left corner of the verso details the watercolors title and the building architects.   

Graphite:
A graphite annotation on the top middle verso of the backing board gives the title of the watercolor, "Waco Cotton Palace."

Primary Support
The watercolor is painted on watercolor paper with an average thickness of 0.030 to 0.045 inches.   The watercolor paper is rectangular with an arched segment centered at the top. 

Secondary Support
The watercolor is adhered to backing board with an average thickness of 0.120 inches.

Housing
The water color is matted in 4 ply mat board designed to fit the unusual shape of the painting.

Condition

Media
Watercolor:
The watercolor pigments are intact, but are demurred by the yellowing of the watercolor paper.

Black ink:
The black ink from the architectural drafting pen is intact with no signs of abrasion or flaking. Graphite: The graphite annotation is intact with no signs of smearing.

Primary Support
The watercolor paper is in poor condition, and the acidic transfer from the backing board has caused the paper to yellow and embrittle.   The loss of the backing board at both right corners and the bottom left corner has caused the watercolor paper damage - both right corners are missing, and the bottom left corner is torn (and has likely been re-adhered to its original spot). There are several tears and losses which extend on to the watercolor painting; the majority of the tears are vertical and originate at the perimeter.   The longest tear is at the bottom of the left mid section of the painting, and extends over 7 inches.   A large loss at the right mid section near the top appears to have been repaired and filled. Traces of glue and bits of paper or board at the perimeter of the painting and the adjacent area of the backing board indicate that a front mat/frame was once adhered to the backing board and painting.

Secondary Support
The backing is in very poor condition, extremely brittle and friable.   Losses at the bottom right and both left corners have proven it more a liability than a support to the watercolor paper.  Several tidelines appear along the top of the recto on either side of the graphite title annotation.