Paper Conservation: Decisions & Compromises
Paper Conservation: Decisions & Compromises Paper Conservation: Decisions & Compromises
Authors Xing Kung Liao Conservator in private practice xingkung@gmail.com Fei Wen Tsai* Associate Professor, Tainan National University of the Arts, 66 Darci Village, Kuentien District, Tainan City, 72045, *Corresponding author tsaifw@mail.tnnua.edu.tw References Baker, C.A. (1984). Methylcellulose and Sodium Carboxymethylcelluloses: an Evaluation for Use in Paper Conservation Through Accelerated Againg. IIC Preprints of the Contributions to the Paris Congress, Sept. 2-8. 1984, Adhesive and Consolidants. Bruckle, I, and J. Dambrogio (2000). Paper Splitting: History and Modern Technology, Journal of the American Institute for Conservation, 39(3), pp. 295-325 Cavanaugh, J. (2001). The Feasibility of Ultrasonic Misting as an Inpainting Technique. WAAC Newsletter, 23(1). Feller, R.L., and M. Wilt. (1990). Evaluation of Cellulose Ethers for Conservation. Marina del Rey, CA: Getty Conservation Institute. Futernick, R. (1983). Leaf Casting on the Suction Table. Journal of the American Institute for Conservation, 22(2), pp. 82-91. Webb, M. (1998). Methods and Materials for Filling Losses on Lacquer Objects. Journal of the American Institute for Conservation, 37(1), pp. 117-133. Paper Conservation Catalog, Retrieved Sept. 2011, http://cool.conservation-us. org/coolaic/sg/bpg/pcc/ Airbrush, retrieved October, 12, 2012, http://en.wikipedia.org/wiki/Airbrush ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 76
Ronald by Franz West. Conservation of a Three - Dimensional Painted Papier Mâché Object Andreas Hartl Austrian National Library, Conservation Department, Vienna, Austria Fig. 1: Ronald, recto view Introduction 1 Entitled Ronald, the object is shaped like a three dimensional guitar (Fig. 1). It was created in the late 1970´s by the Austrian artist Franz West (16 February 1947 – 25 July 2012), and is part of a category of works which he labelled as Namensbilder. These objects are dedicated to particular persons and could be described as a kind of portrait. Ronald is one of a group of 17 artworks subtitled Our Railroad Workers and their Union (Fig. 2). The associated pieces are works on paper including collages, drawings or overpaintings of newspapers or photographs, and are presented in frames, most of which were created by the artist. All the pieces were made as independent works of art over a period of 20 years. In 1996, the group in question evolved from a selection of works for the exhibition Collagen Passstücke Werke 1972-1990 in the Viennese gallery Kalb. It was very common for Franz West to combine works from different periods, and so he also included furniture or sculpture as well as works by other artists. Following this 1996 show, the Essl Museum of Contemporary Art in Klosterneuburg, bought Our Railroad Workers and their Union. The technical study and conservation of Ronald was subject of a diploma thesis at the Institute for Conservation at the Academy of Fine Arts Vienna in 2011. Construction The whole object is made of papier mâché and is shaped as a relief. The lettering Ronald is formed as three-dimensional characters in a different, unidentified material. Papier mâché is a material very commonly used by West. In early years of his career, he used telephone book pages for his raw material. Later, he used mainly newspaper because telephone books were no longer available in the amounts he needed. The recto view of the guitar shows several layers of paint. Very similar structures of these layers can be found in many comparable papier mâché objects. The first layer consists of a grey undercoat followed by layers in yellow and pink, onto which the lettering Ronald is applied. A layer of white coats, the name as well as the pink colour was probably the initial surface. This strata can be found on the entire recto of the guitar. The verso is not painted, leaving the papier mâché exposed. For improving the stability of the form, a wooden broomstick was worked into the material from the middle of the body, over the neck to the head of the guitar. Damage Due to a massive infestation by biscuit beetles, the papier mâché body was almost completely hollowed out and the stability of the object drastically decreased. Because of insect holes, the surface was painted over in extensive areas, using the same material as the initial surface. Afterwards, some of the insect tunnels on the recto’s surface were partially overworked with different types of gypsum. As a result of further structural damage of unknown origin, numerous additional repairs had been undertaken. A fracture runs the length of the body from the bottom to the top edge, at the beginning of the broomstick. Despite previous attempts to repair the crack, it remains a risk. Because of the extensive degree of damage, Ronald was classified as not available for loans. However, for an exhibition in the USA, the group should be shown in its entirety, so the museum and West’s atelier agreed to produce a full-size model. ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 77
- 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 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
Authors<br />
Xing Kung Liao<br />
Conservator in private practice<br />
xingkung@gmail.com<br />
Fei Wen Tsai*<br />
Associate Professor, Tainan National University<br />
of the Arts, 66 Darci Village,<br />
Kuentien District, Tainan City, 72045,<br />
*Corresponding author<br />
tsaifw@mail.tnnua.edu.tw<br />
References<br />
Baker, C.A. (1984). Methylcellulose and<br />
Sodium Carboxymethylcelluloses: an<br />
Evaluation for Use in <strong>Paper</strong> <strong>Conservation</strong><br />
Through Accelerated Againg. IIC Preprints<br />
of the Contributions to the Paris<br />
Congress, Sept. 2-8. 1984, Adhesive and<br />
Consolidants.<br />
Bruckle, I, and J. Dambrogio (2000). <strong>Paper</strong><br />
Splitting: History and Modern Technology,<br />
Journal of the American Institute for<br />
<strong>Conservation</strong>, 39(3), pp. 295-325<br />
Cavanaugh, J. (2001). The Feasibility of<br />
Ultrasonic Misting as an Inpainting Technique.<br />
WAAC Newsletter, 23(1).<br />
Feller, R.L., and M. Wilt. (1990). Evaluation<br />
of Cellulose Ethers for <strong>Conservation</strong>.<br />
Marina del Rey, CA: Getty <strong>Conservation</strong><br />
Institute.<br />
Futernick, R. (1983). Leaf Casting on the<br />
Suction Table. Journal of the American<br />
Institute for <strong>Conservation</strong>, 22(2),<br />
pp. 82-91.<br />
Webb, M. (1998). Methods and Materials<br />
for Filling Losses on Lacquer Objects.<br />
Journal of the American Institute for<br />
<strong>Conservation</strong>, 37(1), pp. 117-133.<br />
<strong>Paper</strong> <strong>Conservation</strong> Catalog, Retrieved<br />
Sept. 2011, http://cool.conservation-us.<br />
org/coolaic/sg/bpg/pcc/<br />
Airbrush, retrieved October, 12, 2012,<br />
http://en.wikipedia.org/wiki/Airbrush<br />
ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013<br />
76
Change language