Paper Conservation: Decisions & Compromises

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Fig. 4 offers a non-invasive approach to study and disseminate historical documents without the risk of damaging the primary source. References Biehl, L. and Landgrebe, D., MultiSpec – A tool for multispectral-hyperspectral image data analysis, Computers and Geosciences, Volume 28, Issue 10, December 2002, Pages 1152-1159. Forth Photonics Website, MuSIS HS, http://musis.forth-photonics.com/products.php. Goltz, D. and Hill, G., Hyperspectral Imaging of Daguerreotypes, Restaurator, International Journal for the Preservation of Library and Archival Material, Volume 33, Issue 1, March 2012, Pages 1-16. ITT Visual Information Solutions: ENVI. http://www.ittvis.com/ProductServices/ ENVI.aspx, Jun 2010. Joo Kim, S., Zhuo, S., Deng, F., Fu, C-W. and Brown, M.S., Interactive Visualisation of Hyperspectral Images of Historical Documents, IEEE Transactions on visualisation and computer graphics, Volume 16, Issue 6, December 2010, Pages 1441-1448. Saunders, D. and Cupitt, J., Image Processing at the National Gallery: The VASARI Project, National Gallery Technical Bulletin, Volume 14, 1993, Pages 72-85. Figure Captions Fig. 1: The spectral range of the MuSIS system extends from ultraviolet to near infrared including the visible part of the Electromagnetic Spectrum. From http://musis.forth-photonics.com/ Fig. 2: HSI Labs multispectral image processing of the Renaissance illuminated manuscript Add. Ms. 45722, Leaf from Sforza Hours. Similarity maps are a measure between the mean spectrum of the marked area and the other points in the data are computed by using the entire spectral bands, visible bands and selected bands in the NIR. Left: Original RGB image showing a variety of pigments used across the illumination. The numbers represent spectral plots shown in Fig. 3. Centre: Grey colour similarity map of the Leaf from Sforza Hours, Right: Jet colour similarity plots of the Leaf from Sforza Hours. Multispectral data was captured with the MuSIS system. Fig. 3: Spectrum plot of the Renaissance illuminated manuscript Add. Ms. 45722, Leaf from Sforza Hours showing the use of multispectral images in pigment identification. 1 = blue clothing, 2 = green clothing, 3 = yellow hat, 4 = grey collar, 5 = baby skin, 6 = gold halo, 7 = brown roof, 8 = red clothing. Fig. 4: Three bands of the 32 generated by the MuSIS multispectral instrument are shown. Left: At 420 nm the photograph appears dirty and the ink inscription along the top is faded. Centre: At 620 nm the impurities on the surface have been reduced and the ink inscription is enhanced. Right: At 1,000 nm the impurities have are removed and the image is no longer obscured. The ink, however, is not visible at this band. A combination of the 620 nm and 1,000 nm band would provide the optimum fusion. Author Christina Duffy, The British Library, 96 Euston Road, London, NW1 2DB, United Kingdom, christina.duffy@bl.uk. ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 134
Strategy in the Case of a Wrecked Papyrus: Is an Intervention Appropriate? Eve Menei and Laurence Caylux Independent conservators, Paris, France Fig. 1: Overall view of mounts 1 and 7 (Menei & Caylux©). Some works may be historically significant but in disastrous condition. At each stage of evaluation of the artifact, the conservator finds himself or herself confronted with the very question of whether to intervene. In 2010, the Department of Egyptian Antiquities of the Louvre asked us to undertake research on the physical condition and possibilities for intervention on a large (estimated length of the scroll: seven metres) and exceptional papyrus, recently acquired by the Museum (inv.E 32 847) (Fig. 1). Historical background The document inscribed recto-verso, dated to the New Kingdom of Egypt (1550-1050 BC) displays a medical treaty on each side. The recto bears descriptions of diseases together with remedies to treat them, for which some parallels are known from other papyri. The verso shows longer and more numerous descriptions together with magical spells unknown from other documents. The first text was written during the reigns of Thutmose III or Amenhotep II (1479-1404 BC) and the second one 150 years later at the beginning of the Ramesside period as an updated version of the preceding text. The manuscript is written in hieratic script, with cursive hieroglyphs, in carbon black ink and some sections are inscribed in red ink. The papyrus was acquired in 1953 by a private individual. It has remained the property of various private owners until its purchase in 2007 by the Department of Egyptian Antiquities of the Louvre thanks to the contribution of the Ipsen Group. Its general condition was however so preoccupying that the Museum hesitated in concluding its purchase which was finally justified by the scientific importance of the document. The production of papyri The oldest known papyrus is an unwritten scroll found in a tomb and dated to 3100 BC. It shows evidence of a perfectly developed production process. A sheet of papyrus is made from strips cut vertically from the stem of the Cyperus papyrus; two layers of strips would be laid down one upon the other at right angles and then pressed. Like all organic materials, papyri eventually suffer deterioration through ageing, but stored under good conditions, they can still be very light in ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 135
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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
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Preservation of Architectural Drawi
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Notes 1 According Salvador Muñoz V
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course of time under the influence
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the curators in review of the treat
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cellulose powders with cellulose et
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Authors Xing Kung Liao Conservator
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Fig. 2: Our Railroad Workers and th
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The Restoration of Cartoons at the
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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
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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 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: Fig. 3 similarity maps. Similarity
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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
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Paper Conservation: Decisions & Compromises

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