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Loose dirt and particulate was removed from the verso a soft brush and HEPA filter vacuum followed by dry cleaning with vulcanized rubber sponges. Here is the verso before (top) and after cleaning (bottom). 

After surface cleaning there were still dark stains remaining on the verso. These appeared to be similar to oil staining on the recto. 

Cleaning tests with solvents and gel emulsions were tested to narrow down what might be effective on disfiguring stains on the recto. 

Some areas of paint loss were vulnerable and had additional lifting paint. These areas were consolidated with a dilute adhesive before cleaning. 

Here I am applying BEVA adhesive with a fine brush to consolidate lifting paint. 

After consolidation the paint is securely adhered to the surface. 

Cleaning tests were also performed on the painted decoration. Tests were concentrated at the border because the yellows were known to be more sensitive from treatment history of other rounding boards at Shelburne Museum. Pemulen TR-2 gel emulsion with benzyl alcohol was found to be effective yet safe and controllable reducing any risk to the painted surface. 

The cleaning mixture was applied with a brush and then cleared with a swab and mineral spirits rinse. 

On the paper is discolored Pemulen gel removed from the surface during cleaning. There was gritty dark particulate embedded in the varnish that came up in the gel. Additional discolored varnish was removed on the swabs during rinsing. 

The first application of the cleaning mixture in the sky reduced the varnish, but the surface still remained heavily discolored with additional varnish. 

Rounding board partially cleaned. Note the brown cast on the left side that has not been completely cleaned. 

Detail of the water during cleaning. The water looks green in areas where discolored varnish is still sitting in the cracks. 

Cleaning in the border was not as dramatic as some areas of the design, but reduction of the varnish also reduced the impact of craquelure and increased the depth of shading. Here the same area is shown before treatment (left) and after cleaning (right). 

Documentation under UV light after cleaning (bottom) shows that the dark oil stains on top of the red are gone and the dull brownish haze has been removed overall. Some of the natural resin remains on the surface. 

Cross section X.4 taken along the upper right join after cleaning. 

Cross section X.4 after cleaning under UV light. Note that there is still a thin layer of varnish over the majority of the the sample. The top paint layer appears cohesive and untouched by the cleaning agent. 

Overall after cleaning and applying new varnish. 

Gustav Dentzel Carousel Company, Carousel Rounding Board, ca. 1902. Paint on wood, 29 x 96 in. Collection of Shelburne Museum, acquired from Jones and Erwin, Inc. 1951-392.89.

Some more tenacious stains like these oily fingerprints remained after a safe level of cleaning. 

Fingerprint stains were inpainted and toned where oil residue remained in deep crevices. 

This mark may look like a scratch, but it is actually remaining varnish residue in deep crevices of craquelure. 

Remaining varnish residue in crevices was inpainted out to avoid an over-cleaned halo around this area. 

Discolored varnish had masked exposed white ground in areas of severe craquelure. After cleaning the right side of the beach especially appeared discontinuous. 

These white areas were inpainted using a stippling technique. 

Inpainted areas were documented using UV light after treatment. The dark dots in the middle correspond to inpainting media which does not fluoresce brightly like older oil paint. 

Gouges and staining before aesthetic compensation. 

Previous area after inpainting gouges and stains just above the fish's back. 

Drips faintly remaining in the sky after cleaning. 

Area with drips after inpainting.