Paper Conservation: Decisions & Compromises

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along its main folds the object was gently humidified and carefully stretched for a short time. The color of the missing corner was well matched which made the new infill look good. We debated the idea of adding black stripes to the border on the attached corner. Thin strips of black paper were cut out to serve as a mock up frame. These strips completed the frame along the objects’ perimeter, and visually unified this object. Although it was an aesthetic choice, the missing black frame was added in the end as it made the added corner less visible. Subjectively speaking, only then the greatest effect was achieved with the least amount of interference (Poulsson 2010:107). Conclusion The extent of the loss compensation depends on the goals of the treatment and the values attached to the artifact, but also the individual and subjective attitude of a conservator. The primary goal of these treatments and conservation in general, is not to make an object look new or whole again, rather it is to stabilise it and reduce the damage that distracts from the design. If the artwork is considered to be of historical value, then its authenticity is vital, and the conservation will focus on stabilising its physical aspect first and foremost (Poulsson 2008:63). Some conservators may choose to employ minimal loss integration methods so that evidence of the objects’ loss and age, although still present, will recede to the background. Often, the artwork is considered important because of its aesthetic quality. Then ‘retouching may be used as means to preserve the legibility and the composition of the image. It may be considered a necessary or unnecessary evil (…) No matter how it is regarded, retouching has been and still is (…) a part of paper conservators’ repertoire (...) and subjective criteria will always influence the decision taken…’ (Poulsson 2008:107). Acknowledgements I would like to thank the whole conservation team at the Warsaw Rising Museum: Anna Grzechnik, Dorota Rakowska, Magdalena Grenda and Piotr Matosek for their invaluable insights during my work with these objects. Authors Ewa Paul Warsaw Rising Museum Kiev, Ukraine ewampaul@gmail.com Anna Grzechnik Chief Conservator and Director of Collections at the Warsaw Rising Museum. WRM, ul. Grzybowska 79, Warsaw 00-844, Poland; agrzechnik@1944.pl Biblioraphy Brown, A. Jean E.and Bacon, Anne. 2002. ‘Perspectives on image reintegration.’ The Paper Conservator, 26:5-8. Gola, J., Sitkowska, M. and Szewczyk, A. 2012. Sztuka Wszedzie. Akademia Sztuk Pieknych w Warszawie 1904-1944, pp. 454- 55. Warszawa: Akademia Sztuk Pieknych w Warszawie, Grenda, M. 2012. ‘The Conservation of two oversized film posters: case study of image reintegration solutions for paperbased artifacts’. Journal of Paper Conservation, 13:21-26 McAusland, Jane. 2002. ‘The Practicalities and aesthetics of retouching: Nationality versus Intuition.’ The Paper Conservator, 26:13-19. Poulsson, Tina Grette. 2010. Retouching of Art on Paper. London: Archetype Publications. Schinzel, H. 1999. ‘Restoration - a kaleidoscope through history.’ In Oddy, A. and Carroll, S. (eds.), 43-45. ‘Reversibility - does it exist?’ British Museum Occasional Paper 135. London: British Museum. Web sources ‘Broadsides.’ Massachusetts Historical Society. 2012.http://www.masshist. org/library_collections/broadsides. cfm?display=print. ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 116
Conservators’ Investigation of Chinoiserie in Wilanow Palace Marzenna Ciechanska |Dorota Dzik-Kruszelnicka | Elzbieta Jezewska | Joanna Kurkowska Faculty of Conservation and Restoration of Works of Art, Academy of Fine Arts in Warsaw, Poland In the collection of Wilanow Palace there is a large and varied set of Chinese paintings and woodcuts on paper dating from the second half of the eighteenth century and the turn of the nineteenth century, which are unique in Poland and which functioned as decorative wallpaper in the palace. They were mostly used as wall decorations for the Chinese Suite located in the central part of the palace. This suite, which consists of five rooms and a small hallway, was furnished by the contemporary palace owner, Count Stanislaw Kostka Potocki at the beginning of the nineteenth century. After the Second World War, during conservation works, eighteenth century frescoes were discovered in the Chinese Suite. A decision was made to restore the eighteenth century décor, whereas Chinese decorative elements were taken off the walls and underwent conservation. From then on they have been kept in the palace museum’s storage. Fifty-five objects of different kinds have been preserved. Some of them are typical export Chinese wallpapers and paintings, while others are traditional Chinese folk artworks which had a ceremonial or decorative function and were used as wallpaper. The fashion for chinoiserie in Poland, like in the other countries of Europe, had flourished from the seventeenth century. Chinese tapestries were mentioned as early as in the first preserved inventory of Wilanow Palace made in 1696. Wallpaper from China was very fashionable in Poland in the eighteenth century. Unfortunately, it has only been preserved in three palaces. It is not known precisely when the decorations of the Wilanow complex were brought to Poland. Both Duchess Lubomirska, who was Count Potocki’s mother-in-law and the former owner of Wilanow (she bequeathed the palace to her daughter and son-in-law in the late 1890s), and Count Potocki were avid collectors of Chinese artwork. The Chinese Suite was described in detail in the inventory of the palace made in 1832. It is known from the previous inventory made in 1793 that Chinese wallpaper had been hung on the walls of different rooms. The so-called Chinese Suite was furnished by Stanislaw Kostka Potocki at the beginning of the nineteenth century. The set of decorations can be divided into two basic groups. The first one consists of nine panels on yellow paper, six of which are medallion, print-room style wallpapers depicting porcelain and silk production, while the remaining ones are: a representation of a Chinese lady and woodcuts. It is not currently known in which rooms they were hung. The second group comprises 46 individual paintings which were separated from the surrounding wallpapers when they were being taken off the walls or they were stuck onto the wall individually or mounted on stretcher bars. This collection can be divided into several thematic groups. Some of these objects are fragments of export wallpapers dating from the eighteenth century, which are genre works and landscapes depicting scenes of everyday life of the Chinese people. Others are separate, full-length figure images of Chinese women or woodcuts depicting groups of women with children indoors or outdoors. The set also contains small New Year woodcut prints and others which are thematically or stylistically different from the rest. The whole set was covered by a research and conservation programme aimed to describe the objects in historical, iconographic and technological terms as well as to determine their state of deterioration, develop conservation methodology and carry out a model conservation of two selected objects. On this poster, we present the results of identification tests conducted on two selected objects which were made by using significantly different techniques. Preserved documents relating to the history of the first of the analysed objects (Fig. 1) do not provide answers to questions that have been raised. Information contained in the three existing inventories are too general to be associated with a specific object, and the documentation concerning conservation works conducted after the war is incomplete. Establishing the ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 117
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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
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2. Methods An interdisciplinary met
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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 and 112: hyaline white mycelia on and in the
Page 113 and 114: Deconstructing the Reconstruction E
Page 115: Fig. 3: Poster after 2012 conservat
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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