This conservation project focused on Lowry’s Industrial Scene (1965), a notable work by L. S. Lowry (1887–1976), the pre-eminent visual chronicler of the industrial North of England. His 1965 work, Industrial Scene, held by The Whitworth, the University of Manchester, captures the quintessence of his oeuvre: a bustling mill yard populated by stylised ‘matchstick’ figures set against a hazy, smoke-filled horizon. Despite its relatively modern date, the painting recently required comprehensive conservation treatment to address inherent material instabilities and a restrictive historical framing system. This project, involved a rigorous programme to consolidate fragile paint layers, repair structural frame damage, and implement a superior glazing solution. This article examines the technical challenges encountered during the project, specifically the delicate balance between securing Lowry’s characteristic impasto and modernising the protective housing to ensure the work’s longevity.
Photo credit: Michael Bowes, Lancashire Conservation Studios.
Structural Challenges and De-framing
The conservation process began with the complex task of de-framing. The artwork had been housed in a restrictive wooden build-up attached to the inner edge of the frame, which overlapped the top edge of the canvas and made stable hanging difficult. This entire assembly had to be removed using metal pincers and protective plates to avoid damaging the wooden stretcher. Once the painting was freed, the team addressed a missing expansion key in the lower right corner, replacing it with a stock component of similar dimensions. To resolve planar distortions, the canvas was gently humidified through a permeable fabric and weighted on a flat surface, after which it was re-tensioned to distribute surface stress evenly.
Consolidating the Sky: Addressing Inherent Instability
A primary concern was the fragility of the paint layer in the upper sky section. Lowry’s technique—specifically painting over a probably dry section of paint—has led to a historic issue of ‘tenting’ and minor paint loss. To secure these areas, the treatment at the private studio utilised a combination of gelatine and Lascaux Acrylic Dispersion. These adhesives were applied via brush beneath unstable flakes, followed by the application of light heat and pressure with a spatula to plasticise and flatten the paint.
Because the painting is unvarnished, the choice of retouching medium was critical to avoid an artificial gloss. Small losses were filled with Flugger filler and textured to match the surrounding surface, then toned using watercolours and Paraloid B72 resin to achieve a seamless, matte re-integration.
Photo credit: Michael Bowes, Lancashire Conservation Studios.
Frame Restoration and Advanced Glazing
The original frame exhibited abrasions, knocks at the corners, and stable losses on the leading edges. These were consolidated and then filled with a durable two-part epoxy putty, Apoxie Sculpt, before being shaped and colour-matched with acrylics. To solve the previous housing issues, a new build-up was constructed from fine-grain pine, mitred at the corners, and toned with a red-brown base and gold finish to mimic the original gilded aesthetic.
The intervention concluded with significant upgrades to the internal protection:
- Glazing: Tru Vue® OptiumMuseum Acrylic® was installed to provide superior clarity and UV protection.
- Rebate Lining: The frame rebate was lined with Volara plastazote tape and gum brown paper to cushion the canvas edges.
- Backing: The unsuitable original hardboard was replaced with a 0.24-inch (6 mm) Correx backboard, onto which the original historical labels were transferred.
Through these meticulous interventions, the atmospheric grit of Lowry’s Manchester remains preserved, protected by a modern conservation standard that respects the artist’s original vision.
L. S. Lowry, Industrial Scene, 1965, oil on primed canvas. Glazed with Optium Museum Acrylic.
Frame dimensions: 22.05 x 33.98 inches (560 x 863 mm). Photo credit: Michael Bowes, Lancashire Conservation Studios.
The installation of Tru Vue® Optium Museum Acrylic® glazing has profoundly transformed the visual accessibility of Industrial Scene. By replacing the restrictive historical housing with this high-performance glazing, the work now benefits from virtually eliminated reflections and enhanced clarity, allowing the subtle nuances of Lowry’s restrained palette and crisp outlines to be viewed without distortion. Furthermore, the anti-static and 99% UV-protective properties of the glazing provide a critical barrier against environmental degradation, ensuring that the atmospheric, hazy sky—previously marred by instability—is both visually revitalised and structurally safeguarded for long-term gallery display.
With thanks to Lancashire Conservation Studios for their expert conservation services.
About The Author(s)
Sarah Potter
Sarah Potter is an accredited conservator and Collections Care Manager at The Whitworth, University of Manchester. With over a decade of experience, she leads strategic conservation for national-standard collections, specialising in high-level sculpture care and environmental risk management. Sarah holds an MSc in Conservation Practice (Distinction) from Cardiff University and a first-class BA in Archaeology from The University of Manchester. A guest lecturer for the MA in Art Gallery & Museum Studies and Communications Officer for the ICON Sustainability Group.