The Martin B-26B Marauder Flak-Bait is an iconic artifact of World War II. This medium bomber and its crews survived over 200 missions over Europe, which was more than any other American combat aircraft in World War II. It is undergoing artifact treatment in the Museum’s Mary Baker Engen Restoration Hangar.
Flak-Bait is remarkable for not only surviving the war but for surviving the subsequent 75 years in an amazing state of preservation. The Museum is currently working to ensure its state of preservation well into the future by performing a number of innovative conservation treatments.
A team of conservators and restoration specialists have developed new treatment techniques to retain original paint and fabric. This is the initial installment of a series of blogs on the treatment of Flak-Bait starting with the preservation of the doped fabric on the rudder.
Doped fabric is recognized as a material that has a limited life expectancy, traditionally made of cellulose-based resins such as cellulose acetate or nitrate. Dope is a waterproof and flexible coating over the cotton fabric on components such as rudders and ailerons. Cellulose-based resins have outstanding performance characteristics but they deteriorate relatively quickly. On operational aircraft, doped covered components needed to be recovered about every 10-12 years so it is remarkable that we still have the original doped components on Flak-Bait.
The components have deteriorated over time as expected, showing tears caused by shrinkage and losses caused by the embrittled material. Because these components bear the scars of operational use and damages caused during combat, we felt that it was imperative that these materials be preserved and retained on the aircraft. Conservation and restoration staff spent over a year on research and experiments to develop new methods to save the historic doped fabric.
How did we do it?
This process combines traditional aircraft restoration techniques with established methodologies found in paintings conservation. The process was recorded through both time-lapse video and digital photography, documenting our numerous treatment steps detailing how we arrived at the After Treatment image above.
The time-lapse video shows the initial stages of surface cleaning, applying a facing to the fabric to enable its safe removal from the structure, followed by corrosion reduction on the aluminum structure.
The photo below shows the internal structure once all the fabric was removed.
Next up is detailed cleaning and reduction of corrosion, tracked in the photo slideshow below.
A synthetic resin is applied to the Ceconite lining fabric and to the inner surface of the doped fabric. Watch the process in the next time-lapse video.
Once the synthetic resin has been built up to the appropriate thickness, the doped fabric is placed back onto the lining fabric and structure, then heat-set into place. This forms a strong but reversible bond.
The white areas that you see above are from tears and pre-existing losses in the doped fabric. These areas were filled with a synthetic filler. The fill material has to have the same texture and level as the original fabric and is worked until it perfectly matches the shape of the loss. This process takes a lot of patience and constant adjustments as you will see in the last segment of the time-lapse video.
Once the fill material stage is completed, we coat the surface with a clear protective layer that helps to saturate the oxidized doped fabric to bring out its original color.
Once the protective layer is applied, we in-paint only the areas of white that you see in the image. This process involves color matching to the areas surrounding the white so that the surface appears seamless when we are done. The results of the in-painting can be seen below. Once we are done with the in-painting, we give the surface one final coat with a matting agent to reduce the gloss to simulate its original appearance.
Through this process, we have ensured that Flak-Bait will continue to be regarded as a truly unique and incredibly authentic survivor from WWII. This groundbreaking and pioneering process is much more involved than we can discuss in this short blog, but it represents the level of commitment that NASM staff have towards ensuring the preservation of our nation’s aerospace heritage.
Besides the Aeronautics and Collections departments, many of our colleagues not necessarily involved in artifact treatment contributed in many ways, including Adam Bradshaw and Glenn Rankin in Exhibits Production, as well as David Adcock and Jon Boyette in Special Events for lending the time-lapse cameras and editing the film. We are also very grateful for the work of the Engen Conservation Fellows.
Lauren Horelick is the objects conservator for Flak-Bait
Jeremy R. Kinney is the curator for Flak-Bait
*All conservation images courtesy Lauren Horelick