Paper Conservation: Decisions & Compromises

More documents

Recommendations

Info

Pluchart, F. 1971. Pop Art Et Cie. Paris: Martin-Malburet, 7, rue Saint-Philippedu-Roule. Radcliffe College, Hilles, Library 1968. Pop Art Drawings. [Exhibition] Hilles Library, Radciffe College, January 7-February 1, 1968. Cambridge. Robbins, D. 1969. Recent Still Life. [Exhibition] February 23-April 4, 1966. Providence. Russell, J., Gablik, S. 1969. Pop Art Redefined. New York: Praeger. Spalding, J.J. c. 2000. Abc’s of Pop Art: America, Britain, Canada, Major Artists and Their Legacy. Tallahassee, Fla.: Florida State University Museum of Fine Arts. Waldman, D. 1970. Roy Lichtenstein, Drawings and Prints. New York: Chelsea House. Waldman, D. c. 1993. Roy Lichtenstein. New York, N.Y.: Guggenheim Museum: Hardcover ed. distributed by H.N. Abrams. Whiting, C. 1997. A Taste for Pop: Pop Art, Gender, and Consumer Culture. Cambridge [England]; New York: Cambridge University Press. Zerner, H. 1975. The Graphic Art of Roy Lichtenstein. Fogg Art Museum, S.l. : s.n. Aknowledgments At the Harvard Art Museums: Susan Dackerman, Anne Driesse, Kathleen Kennelly, Narayan Khandekar, Dan Kirby, Penley Knipe, Henry Lie, Sean Lunsford, Erin Mysak, Jens Stenger At the Philadelphia Muesum of Art: Nancy Ash, Scott Homolka, Betty Fiske, Shelly Langdale At the Museum of Modern Art: Karl Buchberg At the Morgan Library and Museum: Margaret Holben Ellis At the Brooklyn Museum: Toni Owen At the Museum of Fine Arts, Boston: Annette Manick At the Library of Congress: Linda Morenus, Elisa O’ Loughlin At the Wadsworth Atheneum: Ulrich Birkmaier At the Yale University Art Gallery: Theresa Fairbanks-Harris R. Lichtenstein’s assistant: Jerry Simon Author Marion Verborg Neuhöfferstraße 27-29, 50679 Köln, Germany marion.verborg@gmail.com ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 152
Digitally Printed Paper In-fills for Compensation as Applied to Japanese Fold - Dyed Paper Hsin-Chen Tsai Asian Conservation, Museum of Fine Arts, Boston, USA Introduction In the conservation of Japanese folding screens, the decorative papers on the back can sometimes be replaced with new ones with the same or similar patterns. In the case of the folding screens, The Deities of the Tanni-sho, by Munakata Shiko, these decorative papers are typical Folk Art Movement (Mingei) style fold-dyed paper. The artist, Munakata Shiko, dedicated these screens to the founder of the Mingei movement, Yanagi Soetsu, with an inscription on the labels at the back of the screens. Therefore, the label and the decorative papers should be treated as integral parts of the art work and put back into place on the screens. However, several large losses to these fold-dyed papers (Fig. 3) were present. For creating in-fills, it is not only a matter of choosing appropriate Japanese paper by evaluating the thickness (slightly less than support) with visually matching chain lines, color and texture, but also reproducing the patterns. Therefore, printing digital photographic images on an appropriate Japanese paper for use as in-fills was considered. This paper presents the process of assessing the appropriateness of using digital in-fills for this case, the preparation of these digital in-fills and the materials and equipment that were used. Digital techniques for loss compensation Several papers have been presented about using digital techniques to compensate for losses in textile conservation. Rogerson used digital reconstruction to display the completed image next to a beaded mask after research and discussing with the curator (Rogerson, 2002); this example illustrated how a digitally reconstructed image met the need of conservation and education. In the case in the Victoria and Albert Museum, a digital in-fill was successfully used in compensating large losses on a Thirteenth Century carpet (Hartog, 2009). Since the patterns of carpet are repeated and geometric, the conservator was able to print the image from the surviving pattern on an appropriate substrate. For recognition purposes, the image was printed in a lighter shade than the original, so the visitor could be aware of the digital in-fill at a distance of six inches but would not be distracted by it when viewing at a distance of six feet. In paper conservation, Mc- Clintock has mentioned using digital reproduc- Fig. 1: Printing digital in-fills on the Sekishu paper. Fig. 2: Tracing the losses before in-filling. ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 153
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 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 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?