The drawing suffered from several condition issues commonly found in aged works on paper. The physical attachment can be easily disrupted with slight vibration, abrasion, and static charge. The paper was moderately discolored with a significant amount of distracting foxing stains. This type of staining can be caused by metal impurities or mold spores in the paper; it is characterized by a circular shaped stain with diffuse edges, a red to brown color, and a scattered distribution across the paper like freckles. A water stain was present along the bottom edge and the paper was also slightly cockled (a form of wave-like planar distortions that form in paper when exposed to moisture or fluctuating humidity levels). Fortunately, the media was in good condition despite the friable nature of charcoal that is held precariously in place by a loose, physical attachment to the paper fibers. The friability of the media informed how treatment was conducted and how the work would be mounted to maintain the integrity of the media. Treatment began with gentle surface cleaning of the paper, carefully avoiding the media. A series of blotter washes were conducted to reduce discoloration and acidity in the paper. This was followed by a mild solution of ammonium citrate dibasic, which is a chelating agent that helps reduce foxing staining related to the presence of harmful metal impurities. It was decided to further reduce some of the more distracting foxing stains with a low percentage reducing bleach. Once stain reduction was completed, the drawing was thoroughly rinsed in several alkaline rinses to remove any residual chemicals from the chelating and reductive bleaching steps. The alkaline rinsing also deposits calcium in the paper improving stability by preventing excessive buildup of acidity in the paper over time, slowing the aging process. Once the aqueous treatments were completed, the drawing was dried in a controlled manner to flatten the paper. The treatment has reduced acidity levels and staining in the paper to aid in stabilizing the artwork and increasing the contrast in the drawing (fig.3).

The next important step in the treatment of the portrait was to create conservation grade housing that will allow Mr. Davenport to safely exhibit his drawing in his home. The drawing was mounted in a 100% cotton rag, alkaline buffered window mat. The matted drawing was sealed between TruVue® Optium® Museum Acrylic glazing and a Coroplast® backing with a foil-lined polyester tape. Optium® Museum Acrylic filters ultraviolet light, is, anti-reflective, and, most importantly for this charcoal drawing, anti-static. The anti-static property of this glazing is important as it will not cause media loss of the friable charcoal media. The mounting method creates a microclimate that will protect the artwork from damage from UV, air pollutants, soil, moisture, and fluctuating environmental conditions. Despite being executed in two different mediums, the hand of Betsy Graves is clearly visible in both art works. There is a fluid sureness of movement shown in the lines drawn and shapes formed. The blurred definition of shadows and subtle luminosity of highlights is similarly rendered in each image. The likenesses between portraits can also be attributed to the familial connections of the two sitters: mother and son. The manner in which Betsy Graves depicted each sitter is mirrored in her rendering of facial traits and body structure, all strong indicators that these figures are related. The semblances in Graves’ handling of charcoal on paper and oil paint on canvas are signs of a well-practiced artist. Her artistic competency is further reinforced by the choices she made in materials and techniques, discovered during our treatments. The sitters have a strong presence that speaks to Graves’ sensitivity to her subjects and mastery of materials, allowing her to express the character of her subjects through subtle physical cues in expression and posture.