Paper Conservation: Decisions & Compromises

More documents

Recommendations

Info

Figures Fig. 1: The Metropolitan Museum of Art, Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia, Gallery 450: The Patti Cadby Birch Gallery: Introductory Gallery, photographed in 2011. Image © The Metropolitan Museum of Art Fig. 2: The Metropolitan Museum of Art, Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia, Gallery 450: The Patti Cadby Birch Gallery: Introductory Gallery, photographed in 2011. Image © The Metropolitan Museum of Art Fig. 3: The Metropolitan Museum of Art, Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia, Gallery 455: Iran and Central Asia (13th-16th Centuries), photographed in 2011. Image © The Metropolitan Museum of Art Fig. 4: The Metropolitan Museum of Art, Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia, Gallery 457: Spain, North Africa, and the Western Mediterranean (8th-19th Centuries), photographed in 2011: Image © The Metropolitan Museum of Art. Author Yana van Dyke The Metropolitan Museum of Art Sherman Fairchild Center for <strong>Conservation</strong> of Works of Art on <strong>Paper</strong> 1000 Fifth Avenue New York, NY, 10028, USA yana.vandyke@metmuseum.org ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 144
Characterising the Origin of Carbon Black Inks by ATR FTIR Spectroscopy Paul Garside | Rajabi Razak British Library, London, UK Kulliyyah of Architecture and Environmental Design, International Islamic University, Malaysia. Carbon black inks have been used in Asia for millennia and, therefore, are found in many documents of historic significance. The source of carbon for these inks varies with period and location, and so can provide important information about the origins and nature of such manuscripts. The work presented here details the use of attenuated total reflectance (ATR) infrared spectroscopy to aid in differentiating these materials. To this end, five inks were prepared using the following carbon sources: ivory, bamboo, coconut and lamp black, made up using traditional techniques, along with a modern high purity carbon black. The inks were applied to rag paper, modern printer paper, pure cellulose paper and parchment. Subtle differences between the spectra recorded from the samples (emphasised by applying spectral subtraction and other enhancement techniques) could be linked to the source of the carbon and arise from incompletely burnt residual material, allowing their origins to be more accurately determined. These differences were not observed with the higher purity modern materials, in which little or no residual material exists. When this method was applied to objects using carbon inks of this kind, in many cases it was possible to determine the likely basis of the ink. This technique presents a valuable method for investigating the provenance and composition of these historically important inks, and thereby gaining a greater understanding of the objects on which they have been used. Introduction Pigments and inks based on carbon black have a long tradition of use, particularly in Asia, and therefore are found in many documents of historic and cultural significance. The material used to make up these pigments is derived from the soot resulting from the incomplete combustion of a variety of fuels, including plants, ivory, bone, lamp oils and waxes (Eastaugh et al. 2008). Knowing the source of the carbon black can provide valuable information about the provenance and history of the document in question, as well as giving clues to modifications or alterations. The work presented here details the study of such inks by ATR spectroscopy, with the aim of identifying their source by characterising residual material in the soot. Method Finely ground carbon samples from burnt bamboo, coconut, ivory and lamp oil, as well as a modern carbon black pigment, were made up as inks by combining roughly 0.2 g of the carbon and 0.1 g gum in 5 ml water. A brush was then used to apply these five inks to four different substrates: filter paper (pure cellulose), rag paper, printer paper and parchment. Once the inks had fully dried, spectra were recorded from these ink specimens and from the substrate itself, using a Perkin-Elmer ‘Spectrum 400’ spectrometer fitted with an ATR accessory, with 16 accumulations and 4 cm -1 resolution. In each case, two sets of spectra were recorded, the first using a diamond ATR crystal and the second a germanium crystal, the former over the range 4000-550 cm -1 , and the latter over 4000-600 cm -1 (the difference being due to the transmission ranges for the crystals). For each sample and ATR crystal type, the pure substrate spectrum was subtracted from those of the ink on substrate, giving a spectrum of the residual material in each case. In order to assess the usability and value of this approach, carbon inks on four documents (labelled as X1 to X4) were assessed in a similar way (subtraction of substrate spectrum from inkplus-substrate spectrum, followed by interpretation of the result), and the material origin of the ink thereby proposed. This assessment was carried out using the germanium ATR set-up, for reasons discussed below. Results and Discussion The original and subtracted spectra for each of the five types of ink, recorded using the germa- ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 145
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 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: Fig. 3 Fig. 4 of responsibilities r
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?