Paper Conservation: Decisions & Compromises

More documents

Recommendations

Info

Fig. 3: A woman under a blossoming tree, Wilanow Palace Museum, photo by T. Rizov-Ciechanski, a fragment and a close-up of the fragment of a glittering background of calcium carbonate. Also, a certain quantity of titanium, magnesium as well as traces of sulphur and chlorine were detected. The presence of titanium combined with partial resistance to acid as well as of very small particles viewed in transmitted light might indicate that there was a titanium dioxide white pigment which may have come from overpaints. The presence of magnesium can be connected with calcium carbonate (magnesium content of calcite). Large calcium carbonate particles make it possible to conclude that a naturally derived calcite was used (for example, coming from a limestone or shells). The presence of anorgenic limestone was excluded because it has a very different microscopic morphology. Mineral forms of carbonate were widely used throughout the world. The Chinese tradition of calcining and slaking crustacean shells in order to obtain shell white dates back to antiquity. Titanium white is a synthetic pigment that has been produced on a larger scale since 1920. The fact that it was used means that there were conservation interventions that took place in the European area at a later time. The second object (Fig. 2) depicting “A woman under a blossoming tree” was an element of a wall decoration in the Chinese Cabinet, a part of Count Potocki’s Chinese Suite which was furnished first. Three other similar objects were also used as the cabinet’s decoration. It is not known when they were brought to Wilanow or whether they were reused to decorate the cabinet and if they had not been used as a decorative element in another room before. It is a representation which is typical of Chinese art exported to Europe. Thematically and technically similar woodcuts are located in the Schloss Favorite palace in Rastatt. The large object (163 x 90 cm) was made by using the woodcut technique, with painted parts (the objects from Rastatt were identified as woodcuts by F. Wappenschmidt), or it may have been only painted. It dates back to the second half of the eighteenth century, to the Qianlong period. A sheet of paper was used as a surface; it was obtained by gluing the overlapping edges of five sheets of paper made from Broussonetia Papyrifera fibres and then it was lined with three sheets of paper, which was also made from Broussonetia Papyrifera. The paper was dyed yellow and covered with a glittery substance (Fig. 3), the composition of which is still being subjected to additional studies, and dusted with metallic powder. Colours were applied onto a surface prepared in this way. Initially it was suspected that the surface was dusted with powdered metallic tin and sprinkled with ink or paint as there were clearly different colours. Analyses performed using the XRF method did not reveal any other metals (gold, silver), whereas tin was found in all studied locations. In order to confirm the results, studies were carried out by using the SEM-EDS mapping technique. In the tested sample of paper, all dots, also the black and brown ones, contained tin, but no pigments or organic compounds were identified. The size of the dots ranged between 0.02 and 0.4 mm. The sample was analysed using Raman spectroscopy. Tin oxide was identified in small, dark brown dots. The layers of colour were applied using paints with an emulsion binder containing glutin glue and vegetable oil (FTIR analysis showed that there were lipid and protein substances). Colours, which were slightly transparent, were applied in very thin layers (the layers were 0.007– 0.049 mm thick). In the paints, for example calcium carbonate, copper green, white lead, smalt, orpiment, organic red, and minium were identified. The performed studies and analyses were aimed at establishing the work’s substance. Complementary studies of the objects’ content and ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 120
function will provide a holistic picture of the phenomenon, which will be a basis for making crucial decisions concerning conservation. When selecting the methods of dealing with works that combine oriental and European traditions, compromises will be inevitable, which will make it an interesting challenge. Selected Bibliography Wappenschmidt, F. (1989). Chinesische Tapeten für Europa: Vom Rollbild zur Bildtapete. Berlin: Deutscher Verlag für Kunstwissenschaft. Winter, John ed. (2008) East Asian Paintings: Materials, Structures and deterioration Mechanisms, Archetype Pub ltd., in association with The Freer Gallery of Art and Arthur M. Sackler Gallery & Smithsonian Institute, London. Lust, John (1996), Chinese Popular Prints. Leiden: E.J. Brill. Eastaugh, N. and Walsh, V. and Chaplin, T. and Siddall, R. (2008) Pigment Compendium: A Dictionary and Optical Microscopy of Historic Pigments. (1 vols). (1st ed.). Butterworth-Heinemann: London. Authors Marzenna Ciechanska Faculty of <strong>Conservation</strong> and Restoration of Works of Art, Academy of Fine Arts in Warsaw, Poland, ciechans@asp.waw.pl Dorota Dzik-Kruszelnicka Faculty of <strong>Conservation</strong> and Restoration of Works of Art, at the Academy of Fine Arts in Warsaw & National Museum, dodidzik@yahoo.com Elzbieta Jezewska ejez@interia.pl Joanna Kurkowska jkurkowska@op.pl ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 121
Page 1 and 2:
Paper Conservation: Decisions & Com
Page 3 and 4:
Content Lieve Watteeuw Introduction
Page 5:
Michael Wheeler | Nicholas Barnard
Page 8 and 9:
New Trends in Preservation in the D
Page 10 and 11:
and monitoring against adverse envi
Page 12 and 13:
Steve Hobaica, Patrick Loughney, Ma
Page 14 and 15:
The Albums of Duke Charles de Croÿ
Page 16 and 17:
Fig. 4: turning the supporting pape
Page 18 and 19:
Fig. 2: Close-up of some of the los
Page 20 and 21:
manuscript paper, the binding would
Page 22 and 23:
Figure 2 partial sewing: the blue d
Page 24 and 25:
Books in Exhibitions: History and A
Page 26 and 27:
Fig. 4 Museum in London and the pre
Page 28 and 29:
Risk and Safety of Illuminated Manu
Page 30 and 31:
Fig. 2 Atlas, the Crown papers are
Page 32 and 33:
Acknowledgments The authors would l
Page 34 and 35:
Verdigris I: Compromises in Conserv
Page 36 and 37:
Verdigris 2: Wet Chemical Treatment
Page 38 and 39:
Integrated Modelling: The Demograph
Page 40 and 41:
Fig. 3: The consequence of 50 insta
Page 42 and 43:
Characterisation of Historical Pape
Page 44 and 45:
pling is required, tide-lines are c
Page 46 and 47:
Study of Phytate Chelating Treatmen
Page 48 and 49:
Evaluation of stochiometric effects
Page 50 and 51:
Practice and Progress in the Conser
Page 52 and 53:
Fig. 1 Fig. 2 plex picture and prov
Page 54 and 55:
Fig. 2: Coloured paper strips place
Page 56 and 57:
the fire (on the other hand paper,
Page 58 and 59:
inform decisions on conservation tr
Page 60 and 61:
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 and 112: hyaline white mycelia on and in the
Page 113 and 114: Deconstructing the Reconstruction E
Page 115 and 116: Fig. 3: Poster after 2012 conservat
Page 117 and 118: Conservators’ Investigation of Ch
Page 119: had been used, may be false-positiv
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
show all

Paper Conservation: Decisions & Compromises

Create successful ePaper yourself

Delete template?

Save as template?