Paper Conservation: Decisions & Compromises

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The Paper Conservator’s Role: The Metropolitan Museum’s Renovated Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia Yana van Dyke The Metropolitan Museum of Art, Sherman Fairchild Center for Conservation of Works of Art on Paper, New York, USA The Metropolitan Museum of Art houses one of the most important collections of Islamic art outside the Middle East. Within this worldrenowned collection is a significant body of works of art on paper and parchment, representing some of the most superlative accomplishments of illuminated and illustrated manuscript production in the Islamic world. The collection safeguards approximately seventy-two fullybound manuscripts complete with their entire textblocks, in addition to several thousand detached singular folios, representing a broad span of time, from the tenth to the nineteenth centuries. These works of art on parchment and paper reflect great diversity and range of the cultural traditions of Islam, with works from as far westward as Spain and Morocco and as far eastward as Central Asia and India. Comprising both sacred and secular objects, the collection reveals the interdependency of scholarly and artistic proficiencies within the Islamic world. In October of 2011, the Metropolitan Museum of Art celebrated the grand reopening of fifteen galleries dedicated to the permanent display of its Islamic collection; following a monumental eight year, $50 million dollar renovation. This massive project encompassed hundreds of all types of objects housed within the Islamic art department; including objects made of glass, ceramic, wood, metal, carpets and textiles, and jewelry, in addition to works on paper and parchment. Fig. 1 Fig. 2 Throughout the course of this eight year enterprise, the responsibilities and demands of the paper conservator were multifaceted: from first time surveys of the extremely rare manuscript collection, participation in exhibition case design, collaborations with curators, to probing scientific inquiries. Moreover, traditional conservation assignments were consistently juxtaposed with surprising and extraordinary challenges. In addition to the practical and ethical considerations that arose alongside the treatment of these complex works on paper and parchment; material investigations with the enlistment of numerous analytical techniques led to a deeper scholarly and technical understanding of objects examined. The poster illustrates the multifarious professional demands and ever-evolving complex web ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 142
Fig. 3 Fig. 4 of responsibilities requiring appropriate and balanced conservation solutions faced by a paper conservator within a museum environment during a major renovation project. This integral role was one that reached far beyond the microscope and involved a host of collaborations with scientists, designers, engineers, architects, case and lighting designers, mount makers, as well as website designers. • The project team • Conceptualizing, envisioning and defining the new galleries • New galleries exhibition design • Ensuring the proper testing of all case construction materials • Checklist: object selections including rotations • Survey of bound manuscript collection • Examination and condition assessment • Prioritization of conservation treatments: straightforward to complex • Conservation treatment of detached folios • Conservation treatment of bound manuscripts • Spearheading scientific inquiries • Working with museum photographers • Contributing to new publication of collection catalogue • Assessing exhibition lighting design • Rehousing of all artworks for exhibition and long-term preservation • Display of single folios • Design custom cradles for display of bound manuscripts • Object installation phase (Fig. 1 - 4) • Facilitate the custom framing and housing of the monumental timurid quran folios • Technology: create interpretive materials for touch screen monitors in galleries • Training gallery tour guides on the arts of the book • Ongoing gallery rotations of detached folios and bound manuscripts • Ongoing monitoring of environmental conditions • Sharing and disseminating through online website content • Presenting gallery talks • Teaching in curatorial study course • Participating in an joint conservation exhibition related to the gallery renovation: “making the invisible visible” on view at the metropolitan museum spring 2013 ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 143
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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
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The Migration of Hydroxy Propyl Cel
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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 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: Fig. 3: 18 th century paper seal, i
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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