Paper Conservation: Decisions & Compromises

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Table 1: List of books and materials sampled for microbiological analysis with morphological identification of cultivable fungi.* Signature of the book description 00029 1 leather, inner part of back side book cover, white fungal mycelium fungal isolates according to morphological identification Aureobasidium sp. Cladosporium spp. Penicillium sp. Scedosporium sp. 2 leather, front of book cover, white floccose mycelium Cladosporium spp. Eurotium rubrum 00084 3 leather, inner part of book cover no cultivable fungi 4 leather, book cover no cultivable fungi R0184 5 suede, outside of book cover, white to yellowish, granular colonies Cladosporium spp. Penicillium sp. 6 leather, inner side of book cover Alternaria sp. Cladosporium sp. Eurotium sp. Penicillium sp. Scedosporium sp. 7 textile, glued part inside of book, white fungal colonies no cultivable fungi 8 paper inside, white fungal colonies Cladosporium sp. Penicillium sp. R0103 9 paper inside, fist page behind book cover, white fungal colonies no cultivable fungi 02426 10 paper inside of book, dark spots Cladosporium sp. R0176 11 paper inside of book, dark spots no cultivable fungi 12 paper, inner part of book cover Cladosporium sp. R0232 13 paper inside of book, dark stains and colonies no cultivable fungi 14 textile, book cover, white spots and areas no cultivable fungi 15 textile, book cover, white spots Cladosporium sp. Nigrospora sp. Penicillium sp. R0029 16 parchment, book cover Cladosporium sp. Eurotium sp. Penicillium sp. 08122 17 parchment, book spine Alternaria sp. Cladopsorium sp. R0103 18 textile, outside Penicillium sp. dark pigmented fungus with meristematic growth Penicillium sp. white sterile mycelium 01695 19 paper inside of book Cladosporium sp. red-brown sterile mycelium reference 20 reference from sampling environment (table in book center Horn) Cladosporium spp. * The molecular identification of all stains by sequencing of the barcode region (ITI-5.8S-ITSII) is in progress. ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 112
Deconstructing the Reconstruction Ewa Paul | Anna Grzechnik The Warsaw Rising Museum, Warsaw, Poland Introduction Broadsides are single sheets printed on one side, used as public announcements or advertisements. These official notices of laws and regulations or execution lists became the common ‘newscasts’ during the war. Such paper objects were produced quickly and inexpensively to meet the need of the moment. Due to their ephemeral characteristics and poor thin paper, broadsides often vanished as quickly as they were produced. (Website source: ’Broadsides’) A poster is a type of broadside, a composition of pictures and words, or words alone but with a distinct graphic expression. Similarly its main task is to spark interest in a person passing by. This poster highlights the conservation treatments of two war-time broadsides, one a poster ‘Do Broni ‘ and the other a war-time Nazi announcement; both are part of the Warsaw Rising Museum (WRM) collection. The poster also describes the reasons to reverse the poster’s previous restoration, a selection of loss compensation methods and how these methods complement the historical value of the artifacts. ‘The urge to preserve is a result of the view that the artwork is a valuable object (…). But decisions regarding what to preserve (…) are based on which of the artwork’s attributed values are recognized as more important’(Schintzel 1999: 44). At the core of this issue there is a conflict between the artifacts’ historic and aesthetic values. While it is important to take into consideration the aesthetic aspect of the artifact, as it usually guides any intervention, one must not forget its historical value, both the moment at which it was created and its passage through time. This is a dilemma every conservator encounters and it is as unavoidable as it is unresolvable because some subjectivity will always influence the decision making (Poulsson 2010); ‘ … it will be up to the conservator to decide how far to take a conservation treatment, whether that treatment involves stabilisation only or is of more interventive character. The objective must be to achieve the greatest effect with the least amount of interference’ (Poulsson 2010:107). Background The Warsaw Rising Museum along with its modern conservation studio opened its doors to the public in the fall of 2004. To make sure that all the artifacts were ready for the opening day treatments of some were contracted out to private conservation labs. The legendary Warsaw Rising poster entitled, ‘Do Broni w Szeregach AK’ (translation: To Arms in the Ranks of the Home Army), underwent a treatment in 1996. In 1944 Mieczyslaw Jurgielewicz and Edmund Burke created this 70 x100 cm chromolithograph. Their assignment came from the 4th Press and Publishing Division of the Home Army Information and Propaganda Bureau. Just as the Warsaw Rising was starting, copies of this poster called on citizens of Warsaw to take up arms and to join the Rising (Gola 2012:454). The WRM archive owns a few photographs documenting ‘Do Broni’ posters on the streets of Warsaw in 1944. Historical institutions value well-documented objects with interesting provenance and this particular poster has an interesting story. On August 1, 1944, the start of the Rising, a Polish scout named Jadwiga Komatowska posted it onto a building at 49 Nowy Swiat Street in Warsaw. When the Home Army was retreating from the area on September 13, Komatowska took it down and hid it in a nearby trench in the building’s courtyard. In January 1945 she dug it up and stored it until it was later presented to the WRM. The story of this artifact demonstrates that sometimes losses and damage within an object are important and ought to be treated as its integral part. Evaluation and treatment After evaluating an extensive reconstructive restoration which ‘Do Broni’ had undergone (Fig. 1), the WRM conservators, Anna Grzechnik and Dorota Rakowska, found its results to be overbearing and heavy-handed. This restoration treatment was done without much consideration for ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 113
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Paper Conservation: Decisions & Com
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Content Lieve Watteeuw Introduction
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Michael Wheeler | Nicholas Barnard
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New Trends in Preservation in the D
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and monitoring against adverse envi
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Steve Hobaica, Patrick Loughney, Ma
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The Albums of Duke Charles de Croÿ
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Fig. 4: turning the supporting pape
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Fig. 2: Close-up of some of the los
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manuscript paper, the binding would
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Figure 2 partial sewing: the blue d
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Books in Exhibitions: History and A
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Fig. 4 Museum in London and the pre
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Risk and Safety of Illuminated Manu
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Fig. 2 Atlas, the Crown papers are
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Acknowledgments The authors would l
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Verdigris I: Compromises in Conserv
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Verdigris 2: Wet Chemical Treatment
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Integrated Modelling: The Demograph
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Fig. 3: The consequence of 50 insta
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Characterisation of Historical Pape
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pling is required, tide-lines are c
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Study of Phytate Chelating Treatmen
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Evaluation of stochiometric effects
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Practice and Progress in the Conser
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Fig. 1 Fig. 2 plex picture and prov
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Fig. 2: Coloured paper strips place
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the fire (on the other hand paper,
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inform decisions on conservation tr
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This paper summarizes what is known
Page 62 and 63: 2. Methods An interdisciplinary met
Page 64 and 65: Fig. 4: Dyed endpaper pasted at the
Page 66 and 67: Preservation of Architectural Drawi
Page 68 and 69: Notes 1 According Salvador Muñoz V
Page 70 and 71: course of time under the influence
Page 72 and 73: the curators in review of the treat
Page 74 and 75: cellulose powders with cellulose et
Page 76 and 77: Authors Xing Kung Liao Conservator
Page 78 and 79: Fig. 2: Our Railroad Workers and th
Page 80 and 81: The Restoration of Cartoons at the
Page 82 and 83: tation presumes that the works are
Page 84 and 85: To Remove or Retain? - Extensive In
Page 86 and 87: Fig. 4 repeated applications until
Page 88 and 89: The Migration of Hydroxy Propyl Cel
Page 90: tion issue allowed a visualisation
Page 93 and 94: Ethical Considerations Concerning t
Page 95 and 96: emoved with damp cotton swab. Then
Page 97 and 98: Conservation of a Book of Hours fro
Page 99 and 100: Fig. 4: Pigments movement and conse
Page 101 and 102: Notes 1 Brazilwood lake, lapis lazu
Page 103 and 104: pages, which would easily have torn
Page 105 and 106: The Microflora Inhabiting Leonardo
Page 107 and 108: Acknowledgments The authors would l
Page 109 and 110: Microorganisms in Books - First Res
Page 111: hyaline white mycelia on and in the
Page 115 and 116: Fig. 3: Poster after 2012 conservat
Page 117 and 118: Conservators’ Investigation of Ch
Page 119 and 120: had been used, may be false-positiv
Page 121 and 122: function will provide a holistic pi
Page 123 and 124: Fig. 2: Patriarchs of Chan Buddhism
Page 125 and 126: ing techniques, which build upon fu
Page 127 and 128: Applications of Image Processing So
Page 129 and 130: Fig. 3 Fig. 4 images in a single wi
Page 131 and 132: Analysing Deterioration Artifacts i
Page 133 and 134: Fig. 3 similarity maps. Similarity
Page 135 and 136: Strategy in the Case of a Wrecked P
Page 137 and 138: without preliminary consolidation.
Page 139 and 140: Fiber Optic Reflectance Spectroscop
Page 141 and 142: Fig. 3: 18 th century paper seal, i
Page 143 and 144: Fig. 3 Fig. 4 of responsibilities r
Page 145 and 146: Characterising the Origin of Carbon
Page 147: Fig. 3: Sampling depth for ATR spec
Page 150 and 151: Fig. 2: Filmoplast® tape attached
Page 152 and 153: Pluchart, F. 1971. Pop Art Et Cie.
Page 154 and 155: Fig. 3: The reverse of left screen
Page 156: porting the reverse of severe creas
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Paper Conservation: Decisions & Compromises

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