Reemay and Hollytex are two polyester nonwovens from the paper conservation studio. And the question comes up on its own: which one goes here? For many tasks, either will do. For others, it makes a difference. And when one is missing, you work with the one you have until the other arrives. This guide sorts it out by task, with what the conservation literature says in each case.
What they have in common
Both are polyester nonwovens. Reemay is also called Reemay paper or Reemay fabric, but it is neither paper nor fabric: it is polyester filaments bonded without weaving. The same goes for so-called "Hollytex paper".
- Reemay (Magnera): spunbond polyester, with no chemical binder and with chemical resistance.
- Hollytex (Ahlstrom, distributed by Lascaux): no resins, sizing or binders, solvent-resistant and dimensionally stable.
And the AIC (American Institute for Conservation) lists both as an intermediate washing support for paper: the sheet that lets you move the wet object with minimal handling and support weakened papers. The same source's general recommendation is to keep paper, while it is wet, between permeable nonwoven polyester supports.
How they differ: texture and thickness
The difference is in the finish:
- Reemay is the option with more surface texture, and that texture grips wet paper well during washing.
- Hollytex is made by hot calendering, a process that smooths the surface by laying down loose fibres. It is smoother than Reemay.
It shows in the technical data sheets. At a similar weight, Reemay 2014 (34 g/m²) is 0.24 mm thick and Hollytex 3257 (32–34 g/m²) about 0.07 mm: less than a third. So they should not be treated as if they were the same thing just because they weigh about the same per square metre.
Reemay or Hollytex, task by task
| Task | Do both work? | When it makes a difference | If you only have one |
|---|---|---|---|
| Washing paper | Yes: both act as intermediate support in the bath | If texture transfer to soft media or to the paper is a concern → Hollytex | Either one does the job of support |
| Drying and flattening | Yes, for papers that are not satin-finish | Satin-finish or coated paper: Reemay's texture can change the sheen → Hollytex | With Reemay: the minimum pressure needed and the nonwoven laid out smooth |
| Membrane humidification | Yes: both are documented with the membrane | — | Either one |
| Interleaving and separation | Yes: the literature names them interchangeably | — | Either one |
| Linings | The documented separation layer is Hollytex | Between the drying fabric and the Japanese lining paper → Hollytex | — |
| Paintings on canvas | The literature documents Hollytex | Interleaf in canvas linings and strip linings → Hollytex | — |
Washing
Here both do the basic job: supporting the sheet and lifting it out of the bath without handling it. Reemay is chosen when you want the support to grip the wet paper. Hollytex, when there is concern that the support's texture could transfer to soft media or to the paper itself.
They are not mutually exclusive. Within the same treatment, each can go in the stage where it fits: Reemay in the bath, when grip matters, and Hollytex for drying a satin-finish paper.
Drying and flattening
This is the stage where texture counts most. The AIC warns that the pattern of any textured surface may transfer to the paper or to softened media during drying, with or without weights. And a bachelor's degree thesis from the Universitat de Barcelona (Solé Mañas, 2018) makes it specific: close contact with Reemay can change the surface sheen, especially on very smooth papers such as coated and other satin-finish papers.
That is why Hollytex is indicated for drying satin-finish or calendered paper. For other papers, Reemay is used in traditional flattening under pressure: one Reemay on each side of the paper and, outside them, blotters or felts. The same source gives the guideline for avoiding marks: a nonwoven with a texture similar to the paper's and the minimum pressure needed. It also notes that wet paper picks up the folds and creases of the nonwoven too, so it has to be laid out smooth.
Controlled humidification with a membrane
In the humidification sandwich, the membrane lets water vapour through but not liquid water. The nonwoven goes between the membrane and the object, and both are documented here:
- In the set-up by Dobrusskin, Singer and Banik (IADA congress, the international association of book and paper conservators, 1991), Hollytex appears as an optional layer on each side of the object: it prevents softened colour from sticking to the cover sheet and eliminates the risk of condensation.
- In the tests in Solé Mañas's thesis (2018), the paper is placed between two sheets of Reemay in contact with the membrane side.
The sandwich can be built with either one. As Gore-Tex can no longer be purchased, the AIC lists Sympatex among the alternatives. Blotter and membrane are in the works on paper and parchment collection.
Interleaving and separation
To separate the object from the blotter or the drying surface, the literature makes no distinction. William Minter (Book and Paper Group Annual of the AIC, 1986) describes a studio technique: a polyester nonwoven, "e.g. Reemay or Hollytex", attached to a board with spots of adhesive. The polyester does not stick to the repair, lets moisture pass into the board, and the endpapers dry flat. Solé Mañas also describes sheets of Reemay between the blotter and the paper to stop them adhering, especially where there are adhesives from earlier restorations.
Linings
In linings with a drying fabric, the documented layer is Hollytex. Cuoco and Hamilton (same annual, 2008) tested polyester fabrics for lining and placed Hollytex as an intermediate layer between the fabric and the Japanese lining paper; with one of the fabrics, without that layer, the Japanese paper was damaged. In the wet lining described by Dobrusskin, Singer and Banik, the adhesive-coated tissue is worked between two sheets of Hollytex, which keep it from sticking to the blotter.
Paintings on canvas
On canvas, the literature documents Hollytex in two uses. It is presented as an interleaf for linings, and Cser (2002) describes it as a nonwoven interleaf between the original canvas and the lining canvas. The other use is strip lining: the Canadian Conservation Institute adhered strips of Hollytex to the edges of the reverse of an oil painting with BEVA 371 film.
Reemay grades by task
Reemay comes in 50 m rolls and three grades:
- Reemay 2250 (17 g/m², 0.12 mm): the lightest. A fine web for interleaving and drying.
- Reemay 2014 (34 g/m², 0.24 mm): the grade cited by its number in the literature on washing and drying paper.
- Reemay 2024 (71 g/m², 0.31 mm): the one with the most body. It is intended for studio work that does not come into direct contact with the object.
Hollytex 3257 comes in 34 g/m² and 120 cm wide.
Frequently asked questions
Are Reemay paper, Reemay fabric and Reemay the same thing?
In "Hollytex vs Reemay", what really sets them apart?
Which one should I use to dry a satin-finish or coated paper?
I only have one of the two. Can I start the treatment?
Can both be used in the same treatment?
Questions about your treatment?
Tell us what paper or object you are working on and we will help you choose between Reemay and Hollytex. Message us on WhatsApp, visit innovart.art or write to info@innovart.art.