Paper Conservation: Decisions & Compromises

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Fig. 2: Our Railroad Workers and their Union, Exhibition catalogue Franz West, To Built a House You Start with the Roof. Presentation The museum is presenting the group in the same arrangement as that created by Franz West at its first exhibition in 1996. There were a few exceptions, as West arranged exhibitions by himself and would sometimes combine different groups of artworks. Ronald is presented in a pine showcase, which is covered at the front and the rear with transparent acrylic glass, fixed with screws. Probably the object was originally not presented in the case. There are indications that the frame was made in order to protect the damaged Ronald within the group presentation. At the rear of the guitar screw holes of the supposed previous mounting were found. Like the original artwork, the copy was to be presented unframed. Conservation Goals Part of the project was the examination of the paint layer structure and the earlier repair treatments. An important question was how to treat the object’s patina. The correlation between repairs / “patina” and their importance to the history of the object was examined. To find out by whom the earlier repairs had been undertaken, people in Franz West’s working environment were interviewed. Furthermore, objects from this particular group were compared regarding structure and surface appearance. It was not possible to answer this question in the context of this thesis. There were suggestions that the repairs and overworking was done by West himself or, with his permission, by one of his assistants. As a result a strategy in dealing with the present surface condition was developed. Part of West’s concept is that objects can be handled by the owner. The patina which is due to the handling of the object is therefore part of its history. As a result of the research into the artist’s modus operandi, the surface was accepted in its current condition. In order to adequately stabilise the papier mâché body’s structure, two methods had to be combined. During the work, it became evident that it would not be possible to stabilise the entire body from surface to centre. Therefore it was decided that only the surface and the subsurface areas should be treated; while not a complete procedure, it would strengthen the object’s structure somewhat. Another major aspect was to develop measures to optimise the situation for transport, storage and exhibition to prevent further structural deformations when handling the object and to thus minimize damage. ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 78
The second part of the stabilisation process was to secure the precarious crack in the body as well as the mounting of the object in the frame. Therefore a grid-shaped “scaffolding” was created to fit seamlessly into the uneven verso surface of the body and the head of the guitar. The support structure is made of thin strips of corrugated board with which the vulnerable area along the crack could be stabilised and the object could be mounted in the show case in one procedure (Fig. 4). Notes Fig. 3: The implementation of the paper pins. Because of the instability of the crack in the middle part of the body and the fact that the object was not mounted in the frame, transport and handling cannot be undertaken without a high risk of damage. It was necessary to secure the unstable crack and the object itself inside the frame. Treatment The structural damage is similar to the insect infestation, which can be found on wooden objects. Initially, fillers for wood conservation were tested on mock-ups for their capabilities to adapt to this object. Finally, it was not possible to find a satisfying solution with fillers as they did not match the material properties of papier mâché. Fillers generally include high amounts of moisture and need long time to dry which in turn causes the material to swell and soften too strongly. The method finally applied involves paper pins 2 and a technique used in dentistry, which could be adapted for stabilisation procedures. Ranging in diameter from 0,01mm to 1,2mm, the pins permitted filling and stabilising the insect tunnels very accurately (Fig. 3). To adhere the pins in the insect tunnels, paste was applied with a dosing system by BELO 3 , so it was possible to dispense a defined amount of adhesive and avoid intense weakening of the paper material by too much moisture. It was thus possible to work very quickly and efficiently which was essential for the treatment procedure. 1 Interview; Andrea Überbacher, West Archive Vienna 2 Henry Schein, Paper Pins, Maxima® Hand rolled paper points. Colour coded. Sterile. http://www.henryscheinbrand.com/ product.php?switchlang=de&leader=&pr oduct=9002505 3 http://www.belo-restauro.de/English/ Company/Catalogue/Painting/Dosimeter/ dosimeter.html Author Andreas Hartl Austrian National Library, Conservation Department, Josefsplatz 1, 1015 Vienna, Austria andreas.hartl@onb.ac.at Fig. 4: The verso view with the scaffolding made of corrugated cardboard before mounting into the show case. ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 79
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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
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Fig. 2: Close-up of some of the los
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manuscript paper, the binding would
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Figure 2 partial sewing: the blue d
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Books in Exhibitions: History and A
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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 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
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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.
Page 139 and 140:
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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