Paper Conservation: Decisions & Compromises

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Notes 1 According Salvador Muñoz Viñas conservation is “the activity that is to take measures for the fewest changes for as long as possible.” 2 In common usage, all graphical documents produced by architects are usually called plans or architectural plants. In this article we will use the term architectural drawing as equivalent. 3 The architectural plans done manually in the twentieth century often had copies. Bibliography CATTANI, Airton. 2006. ‘Arquitetura e representação gráfica: considerações históricas e aspectos práticos’. ARQtextos, 9: 110-123. Laroque-Kucharek, Claude. 1992. ‘Les papiers transparents dans les collections patrimoniales: composition, fabrication, dégradation, conservation’. Thesis. Department of Art History, University of Paris I. PRICE, Lois Olcott. 2011. Line, Shade & Shadow workshop handouts. Presented to the Brodsky Series for Library <strong>Conservation</strong>, Syracuse University Library. CHING, Francis D.K. 2006. Dicionário visual de arquitetura. São Paulo: Martins Fontes. LATHROP, ALAN K. 1980. ‘The Provenance and Preservation of Architecture Records’. The American Archivist, 43(3), 325-338. Aline Abreu Migon dos Santos lilimig@hotmail.com Rua Almirante Garnier, 77, Bloco C6, apto/ 105. Rio Grande, Brazil CEP: 96.2012-205 Margarete Regina Freitas Gonçalves margareterfg@gmail.com Silvana de Fátima Bojanoski silbojanoski@gmail.com ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 68
Removable Loss Integration in the Re - Treatment of Robert Delaunay‘s Three Graces, Study for “The City of Paris” at the Albertina, Vienna. Irene Brückle | Maike Schmidt | Eva Hummert | Elisabeth Thobois Studiengang Konservierung und Restaurierung von Graphik, Archiv- und Bibliotheksgut, Staatliche Akademie der Bildenden Künste Stuttgart, Germany; Kupferstichkabinett der Staatlichen Museen zu Berlin, Berlin, Germany; Albertina, Abteilung Restaurierung, Vienna, Austria The case study illustrates core questions that concern loss integration of artworks on paper: defining and refining the treatment goal in discussion with curators; developing a minimally invasive method for loss integration that respects the potential future treatment desires; the technical challenge of creating a visual match for an unevenly discoloured, machinemade paper. The project was carried out as a cooperation between the Museum Albertina and the Staatliche Akademie der Bildenden Künste Stuttgart. The large oil sketch “The three Graces, study for ‘The City of Paris’” by the French painter Robert Delaunay, measuring ca. 190 x 140 cm (Fig. 1), is one of several preparatory works for the famous painting The City of Paris in the Centre Georges Pompidou. It belongs to the Batliner Collection in the Museum Albertina (Inv.Nr. GE29DL). The artwork, drawn on thin, machinemade woodpulp-paper, was apparently torn into several large pieces by the artist himself. After Delaunay’s death in 1941, however, the work was reassembled, lined on canvas and mounted on a strainer. The mounting was at least once removed and renewed. The sketch shows many damages, many of them caused by historic restoration treatments such as filled losses, which are visually obtrusive, wrongly overlapping tear edges and aged retouchings. It also had undergone extensive aqueous treatment of which no record exists, most likely including bleaching, which subsequently caused mottled discolouration and brown tide lines along the oil paint edges. Patches of untreated, and therefore even coloured and darker brown paper have remained in isolated areas between paint strokes where treatment had not been dared. This mottled appearance of the original paper was to be matched in the production of an insert. The problem that was addressed in our treatment concerned two large distracting losses resulting from the 1940 ties damage, one at the right lower edge ca. Fig. 1: Robert Delaunay, “The three Graces, study for ‘The City of Paris’ “ (Albertina Inv.Nr. GE29DL), 1912, normal light, before treatment (08.07.2010). 49 x 13 cm, the bigger and more prominent one at the lower left edge ca. 46 x 74 cm. They had soon been filled with woodpulp paper inserts that had discoloured to a dark-brown tone contrasting with the original paper colour. The old inserts had been pasted onto the lining, overlapping the edges of the original. Black-and-white photographs of the work in earlier exhibition catalogues starting 1956 already show the paper fillings (Anon. 1956; Schilling and Platte 1962; Jenderko-Sichelschmidt 1976), but indicate that their colour once was much brighter than today. This suggests that the paper darkened in the ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 69
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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
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 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
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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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