Paper Conservation: Decisions & Compromises

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Scope of our tests: Objective Assess the number of layers of consolidant necessary Appraise the quantity of consolidant on the brush Determine if pre-pasting the paper increases transparency Evaluate the need for pre-humidification of the papyrus Final choice Two layers The brush should be very lightly impregnated in order to avoid overflowing on the sides and wetting the papyrus too much Not necessary with two layers of consolidant Essential to facilitate penetration Step 4 Consolidation/ facing protocol The putting into place of this procedure has a big influence on all parameters (dispersion, transparency, brightness, pasting quality). We carried out tests on pieces of paper toned brown using watercolour paint and on pieces of unwritten papyri provided by the Department (Fig. 4). As for the method of application, we chose to lay the consolidant over the surface through Japanese paper with a flexible flat brush. It appears to us to be the fastest and the most precise method. Ongoing step At this stage, our reflection and the preparation of the protocol must be confronted with the current condition of the document. We must now carry out our first tests on small original fragments. With the assistance of the curator, we will select them and choose the side to be covered with the facing. After opening the mounts, the strips of adhesive bands will be cut right on the edge of the fragments. Considering the extreme state of brittleness of the papyrus, it is impossible at the present time to eliminate them. After consolidation and lining, we hope that it will be possible. This is why, we would be more favourable to lining the side without adhesive bands. We are also developing a method for removing fragments from their mount using a sandwich of nonwoven fabric with the aim of implementing the protocol for each separate fragment. References Darbre, F. 2008. ‘The Papyrus Codex Tchacos’. In Papier Restaurierung, vol 9, n°4. Dauchez, A.-C. 2012. ‘Approche comparative des colles d’algues Funori et Jun- Funori® ’ . In Conservation, Exposition Restauration d’Objets d’Art, revue électronique, n°8, URL http://ceroart.revues. org/2865. Menei, E. 2008. ‘Fifteen years of papyri conservation at the Louvre: the influence of Japanese techniques’, in Archiv für Papyrusforschung, Beiheft 24, p. 62-67. Michel, F. 2011 ‘Funori and JunFunori® : Two Related consolidants with surprising properties’, in CCI Symposium : Adhesives and Consolidants for Conservation, Research and Application, Ottawa, 2011, URL : http://www.cci-icc.gc.ca/symposium/2011//index-eng.aspx Acknowledgements Marc Etienne, curator in the Department of Egytian Antiquities in the Louvre Museum. Florence Darbre, conservator of papyri in the Martin Bodmer Foundation in Geneva. Bridget Leach, conservator of papyri in the British Museum in London. Authors Eve Menei independent conservator, 77bis, rue Michel-Ange, 75016 Paris evemenei@free.fr Laurence Caylux independent conservator, 7, rue Armand Carrel, 75019 Paris – France, laurence caylux@free.fr ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 138
Fiber Optic Reflectance Spectroscopy (FORS): A Useful Technique for the Analysis of an Early 20th Century Livre d’Artiste ana margarida silva | márcia vilarigues | maria joão melo | vicarte | marcello picollo Department of Conservation and Restoration, Faculty of Sciences and Technology, New University of Lisbon, Portugal Institute of Applied Physics ‘Nello Carrara’, Florence, Italy In paper conservation the analysis of materials is often quite difficult due to the fact that in delicate art work paint layers are usually very thin and small in size. The use of in situ non-invasive techniques is recommended as the most appropriate analytical tool. The analysis provided by Fiber Optic Reflectance Spectroscopy (FORS) is useful in these cases. The proposed in situ non-invasive technique operates in the ultraviolet (UV), visible (Vis) and near-infrared (NIR) regions (350–2200 nm). It allows scientists and conservators to identify different compounds, especially pigments and dyes, to evaluate colour and colour changes and to detect alteration products. Proper instrument configuration may promote the achievement of these goals with just a single measurement. This methodology is based on the measurement of the diffuse radiation from the surface when compared with a standard of calibration, such as Spectralon® or barium sulphate plates. This case study presents a livre d’Artiste by Amadeo de Souza-Cardoso (1887-1918), the most important Portuguese artist of the Avant Guard movements from the beginning of the twentieth century in Western Europe. The book entitled La Légende de Saint Julien L’Hospitalier (1912) was copied and illustrated by the artist from the tale of Gustave Flaubert, resulting in a piece of artwork. The decorative elements, illustrations, and text link each other gracefully, the result of which is a modern reinterpretation of a medieval codex. This beautiful and unique piece is now at Centro de Arte Moderna – Fundação Calouste Gulbenkian’s collection in Lisbon (Portugal). The poster illustrates the effective use of FORS in the analysis of this book. On analysis of the book’s production, FORS technique confirmed the use of parchment in the bookbinding. FORS also offered interesting information about the watercolour’s molecular palette, rich in coloured and stable pigments, which corroborates previous studies, with the exception of the blue colours. Gold and silver were also identified as well as alterations in silver. However, not all pigments can be identified in the 350–2200 nm range by FORS, because some materials have similar reflectance spectra: for instance, cadmium red and vermilion. The black pigments were not easily identified because they show a strong absorption that masks almost all of their spectral features. When necessary, analyses were complemented with micro-X-ray fluorescence spectroscopy and micro-Raman spectroscopy. The application of FORS proved to be useful to paper conservation, providing in situ non-invasive analysis. The advantages of FORS include among others, the portability of the instrument (which allows analysis on site) and the ability to analyse the acquired spectra in real time. Authors amcd.silva@campus.fct.unl.pt mgv@fct.unl.pt mjm@dq.fct.unl.pt m.picollo@ifac.cnr.it ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 139
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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
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To Remove or Retain? - Extensive In
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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 and 134: Fig. 3 similarity maps. Similarity
Page 135 and 136: Strategy in the Case of a Wrecked P
Page 137: without preliminary consolidation.
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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