Paper Conservation: Decisions & Compromises

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inform decisions on conservation treatments, handling methods and display and storage conditions. Currently this approach is used as a spot analysis technique, but the aim is to developing into an imaging method that will allow parchment manuscripts to be rapidly assessed. Acknowledgements The authors would like to thank their colleagues at the British Library for their help and support. Authors Paul Garside British Library, 96 Euston Road, London, NW1 2DB, UK; paul.garside@bl.uk. Barry Knight British Library, 96 Euston Road, London, NW1 2DB, UK. ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 58
Color Printing in 16-17 th -Century Italian Chiaroscuro Woodcuts: Degradation, <strong>Conservation</strong> Issues and Exhibition Concerns Linda Stiber Morenus Library of Congress, Washington, DC, USA / Staatliche Akademie der Bildenden Künste Stuttgart, Germany or dark colored ink. The printmaking process results in an image of complex stratigraphy. Together, the layered ink colors were usually chosen by the printmaker to create a sense of volume or spatial recession - prime objectives of Renaissance imagery. The rich visual language of the chiaroscuro technique is predicated on the varied and nuanced colored inks and printing effects which give the medium its expressive power. There is a vast literature dedicated to the composition and behavior of printing ink over the centuries, however no study addresses systematically oil-based colored inks as used in 16 th - 17 th century Italian chiaroscuro woodcuts. Christ Healing the Paralytic BXII.38.14 by Niccolo Vicentino Library of Congress FP-XVI-V633, no.2 Italian chiaroscuro woodcuts are among the most innovative of Renaissance prints. A woodcut print is made from a wooden plank that is carved in relief, inked, and impressed in paper. Chiaroscuro woodcut prints – named from the Italian term for contrasting light and dark tones – emulate drawings of the period. The design of a chiaroscuro woodcut is distributed over two to five woodblocks that are printed in superimposed layers of colored inks, thus creating transitional passages of shading. These tonal passages are often anchored by a “key” block which carries the primary outlines of the design in black Many centuries after a chiaroscuro woodcut was originally executed, deterioration can affect its legibility, and distort the historical and aesthetic interpretation of the work. Moreover, a correct assessment of condition is fundamental to selecting appropriate conservation and preservation measures. Colored printing ink can become altered by a number of degradation phenomena. Understanding the durability of vehicles and colorants is central to an accurate reading of chiaroscuro prints. Vehicles for early modern period inks are typically composed of drying oils, with possible admixtures of natural resins. Both share a tendency to become brittle and yellowed with age. Darkness and humidity increase this tendency (Gettens and Stout 1966: 46). Some inks of the period are subject to colorant deterioration. In his valuable study, A History of Printing Ink, Balls and Rollers 1440-1850, Colin Bloy distinguishes the light stable pigments – inorganics, earths, and metallic compounds – from the fugitive organic colorants, including indigo and lakes (Bloy 1972: 40). Other pigments are chemically reactive, such as copper acetate, lead carbonate and lead oxide. Breakdown of colored ink also can lead to blanching – a clouding effect. Finally, the paper support may undergo ink-associated damage as well. ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 59
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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 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
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hyaline white mycelia on and in the
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Deconstructing the Reconstruction E
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Fig. 3: Poster after 2012 conservat
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Conservators’ Investigation of Ch
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had been used, may be false-positiv
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function will provide a holistic pi
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Fig. 2: Patriarchs of Chan Buddhism
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ing techniques, which build upon fu
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Applications of Image Processing So
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Fig. 3 Fig. 4 images in a single wi
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Analysing Deterioration Artifacts i
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Fig. 3 similarity maps. Similarity
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Strategy in the Case of a Wrecked P
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without preliminary consolidation.
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Fiber Optic Reflectance Spectroscop
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Fig. 3: 18 th century paper seal, i
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Fig. 3 Fig. 4 of responsibilities r
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Characterising the Origin of Carbon
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Fig. 3: Sampling depth for ATR spec
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Fig. 2: Filmoplast® tape attached
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Pluchart, F. 1971. Pop Art Et Cie.
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Fig. 3: The reverse of left screen
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porting the reverse of severe creas
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Paper Conservation: Decisions & Compromises

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