Chapter 6
• Art Handling Categorisation Terms
• Installation of Altarpieces and Large Paintings
• Works Exhibited in Display Cases
Art Handling National Gallery De/installation Move by Category
Due to the nature of the picture Collection at the National Gallery, it is possible to categorise paintings according to the actions necessary for de/installation. This has led us to group works into three categories for this purpose, which are as follows:
Standard Manual Lift (or yellow move): This category refers to all two dimensional works of art within the Collection that can be safely lifted and moved (and de/installed) by one or two technicians without the use of equipment. This will normally mean works that weigh less than 30kg and have maximum dimensions of 1.5 metres square.
Medium Lift (or Aluminium move): This category refers to two dimensional works of art in the Collection that require a Stacker, or a Stacker and Stacker Trolley to de/install them. This will normally mean works with a maximum size of 3.5 metres in length and 3 metres in height and weighing up to 150kg.
Heavy Lift (or Blue move): This category refers to all two dimensional works in the Gallery that require the Blue Hoist to de/install them. This will normally mean altarpieces and other paintings exceeding the medium lift restrictions but not exceeding a weight of 400kg.
As can be seen, each category is directly linked to the type of equipment (or lack of equipment) necessary for the task. This information (along with any further relevant information) is then recorded on a data entry sheet attached to the picture record as it appears on the Gallery Database TMS (please see example sheet).
Although there are exceptions to these categories, nearly every object in the Collection can be group in one of these sections. Our approach to designing installation and transportation solutions is informed by this system.
Installing National Gallery Altarpieces and Large Paintings within the Gallery
Please also refer to the “Blue Hoist” and “Genie” operating instructions.
Category and Description of Works Covered
The National Gallery has a number of works within its Collection that can be defined as either “altarpieces” or “large paintings”. Altarpieces are usually paintings dating from before a particular time period, that have a site-specific display function (notably devotional or religious imagery painted for a particular church or chapel). These works tend to be large, panel paintings in ornate and elaborate frames that are of a significant weight and size. Large paintings are usually works of a certain size, requiring equipment to move them and not necessarily following any genre, they are usually paintings on canvas, these works may also come with a large ornate frame.
Within the National Gallery, most altarpieces will be displayed on plinths on the main floor, so continuing the visual “look” representative of the works origins. Large paintings will be installed using a variety of methods from chains to hidden, metal supports, these works tend to have a more conventional display “look”.
Within Art Handling, these two categories of works fall within the category of a heavy lift or complicated installation. We use a piece of Department designed equipment called “the Blue Hoist” (please see the “Blue Hoist Project” for reference) to carry out these moves.
Obstacles Encountered
We have two major issues to overcome in this move; the display method and transportation of the object. With altarpieces, we have redesigned the plinth structure to allow easier access to the object. The Blue Hoist has also been specifically designed to connect with the new plinths and carry out the removal operation. As the works are largely panel paintings, this means the method must maintain a vertical orientation of the work at all points of the operation. Working-at-height legislation has also affected the procedure, with added secure platforms created to provide safe access to the top of the works.
Large paintings are generally displayed more conventionally and the Blue Hoist has been designed to be adapted to these methods, this can also involve the use of other equipment such as “Genie” mobile platforms.
As the Gallery has limits to door sizes etc, most of the works have to be re-oriented to transport through the building. For some works, this means de-framing them in situ, and to assist this task the works will be positioned “face-in” on the Blue Hoist (all works being adapted to be removed from the rear of the frame).
Approach
Previous methods of installing these works involved manually handling and lifting the paintings, this has been eliminated in favour of the equipment mentioned. However, we require our equipment to be manually, not electronically, operated. Stabilising and securing the works during the move still involves a “hands-on” approach from our technicians at certain points of the procedure and this allows us to more easily ascertain the state of the work at any given point.
This category of move requires the involvement of most of the team (not less than six technicians) and the move also requires supervision by a Team Supervisor or Senior Art Handler, or the presence of the Head of Department. Each team member must also have prior, practical training in the operation of the Blue Hoist (to a Department designed program) as well as be correctly certificated in the use of single person mobile platforms.
National Gallery Altarpiece Plinth Design
The opening of the Sainsbury Wing allowed for the re-display of the early Italian paintings in a more cohesive fashion. The large altarpieces were displayed on new plinths of a uniform appearance. The shelf heights of the plinths were all identical allowing for a more unified appearance to the display. One aspect of the new display which was less than satisfactory was the solid construction of the plinths onto which the objects were placed. The great weight and height of the works caused much difficulty when it came to installing and removing them. The consequential wear and tear on the plinths and objects caused concern both for the appearance of the plinths and for the conservation of the altarpieces.
Borrowing from best practise in the handling and display of more sculptural objects in museums elsewhere, a method was devised whereby a vertically sliding armature was incorporated into re-designed plinths, with de-mountable fascias allowing access for lifting equipment.
The opportunity to redesign the plinths occurred some years before the development of our new specialised lifting equipment. A judgement had to be made in advance about the operation of any new lifter that we would subsequently develop for use with these plinths. The main principle was to enable any lifter to be inserted beneath the object and then lift it clear of the plinth. The purpose of the sliding armature therefore is to eject the object clear of the surface of the plinth. Hence the term ‘Ejector Plinth’ is now used to describe this type of plinth.
This was achieved by means of a simple pallet lifter in conjunction with our old primary lifter before the development of the current device. The 1000kg pallet lifter is now used for this operation as it forms part of an integrated lifting operation with the new Blue Hoist.
In addition to the Ejector Plinths, we also make use of a category of plinth we term “veneers”. These are plinths that give the appearance of carrying the weight of the object on it without actually doing so. For National Gallery altarpieces, this involves the manufacture of a floor standing steel bracket that is screwed to the wall with the altarpiece then being installed upon it. The plinth is then placed into position and has a cut out section that follows the profile of the bracket, this being arranged so that it is invisible beneath the picture itself. This arrangement has the added benefit of being easier to de-install, most works on plinths in the Sainsbury Wing now follow this method.
Works in Sainsbury Wing Display Cases
There are three types of display case currently in use in the Sainsbury Wing which are all designed to display double sided panel paintings. They all take the form of a low reflective laminated glass top with a painted wooden plinth and all also lock to further secure the works housed inside them.
1) NG6563 Durer • This is the smallest work on display from the Collection and consequently has a unique case designed for its display. This consists of a painted wooden plinth which has a lockable door on one of its sides which gives you access to the base, where stage weights are placed inside for stability. An alarm can also be placed inside the base which is activated by any movement of the plinth. • The small panel sits on top of a special wooden block consisting of a keyhole and a magnetic pad, which marry up with a single screw and a magnetic pad on the base of the panel’s frame. • The glass lid is lowered over the top of the picture and is locked into place with 2 removable locking barrels. Then a wooden sleeve painted in the same colour as the plinth is lowered over the glass lid, covering up the base and the locking mechanism, and unifying the glass top with the rest of the plinth.
2) NG566 Duccio • This is displayed in the only remaining old style display case with fixed locks. This system was replaced in all other cases with removable lock barrels because there were too many instances of the glass tops getting cracked when the cases were being opened (as indeed is this lid). • The case consists of a painted wooden plinth and a fixed glass top. The plinth has a removable panel with magnetic catches on one side at skirting height. This gives you access to the base where weights are placed to add stability. • The low reflective laminated glass top consists of three sides and the top, fixed together with a stainless steel strip with a groove in it which is adhered to the top panel. The final glass face is fitted into the groove and then locked off. • To open the case requires a lot of care. Firstly the two locks at each end of the top edge are undone. It is then advisable to fit two glass suckers to the sheet of glass. The glass panel is then lifted very gently out of the bottom groove and angled out and away from the case. It is then possible to lower the glass out of the top groove and remove it from the display case. • There is an unfortunate tendency for the glass to stick in the bottom groove and to come out with a jolt giving the lid of the case a knock which in turn results in the glass cracking. • Normally while the work is being fitted or taken out of the case the removable glass side is placed on pads up against the wall or tied off on one of the Picture Trolleys. It is finally re-fitted in reverse and the two locks are again secured.
3) NG1302 and NG1303 Marmion, NG747 Memling and NG4451 The Wilton Diptych • All are displayed in the newer style of case. These cases are exactly the same as the case described in 2) apart from the fitting of the removable glass side panel. • This has removable lock barrels which mean there is no need for a slot at the top to secure the removable glass panel. Instead there is a stainless steel strip attached to the front edge of the top panel and a corresponding one attached to the top of the removable panel. • Holes for locating the locking barrels line up when the removable panel is located in a slot at the bottom. It is then just a matter of fitting the lock barrels and locking them. Once locked, they secure the glass and also hold it in place.
N.B - Fittings for the paintings: These differ from work to work but follow the same basic lines. This consists of a painted metal bracket lined with velvet strips which is screwed to the top of the wooden plinth. The base of the panel’s frame locates in the bracket. In the case of NG566 Duccio there are two perspex supports on either side to take the weight off the two side members of the triptych. In the case of NG4451 the Wilton Diptych, there is a back panel to the bracket which is screwed into position and needs to be loosened to release the Diptych.
