Showing papers in "Journal of The American Institute for Conservation in 1997"
TL;DR: One type of Egyptian limestone from Naga el-Deir (Abydos/Thebes region) exhibits an ongoing problem of deterioration typified in the form of continued delamination of the surface in a stela from archaeological investigations carried out in the early 20th century as discussed by the authors.
Abstract: One type of Egyptian limestone from Naga el-Deir (Abydos/Thebes region) exhibits an ongoing problem of deterioration typified in the form of continued delamination of the surface in a stela from Naga el-Deir acquired from archaeological investigations carried out in the early 20th century. Previous testing of this limestone type indicated the presence of sodium chloride and sodium nitrate. The sculptures have been treated and desalinated either by immersion in water or by aqueous poulticing, but the decay process was not halted, and major loss of surface stone was still noticeable after storage for a period of years. Mineralogical and petrographic data (x-ray diffrac- tion (XRD), scanning-electron microscopy (SEM), and optical microscopy) indicate that this stone has a high proportion of clays (up to 10% by weight). Lab- oratory tests suggest that the clays, concentrated along bedding planes, are largely responsible for the type of deterioration noted. The role of clay minerals in the decay of this type of limestone was demonstrated by performing a series of experiments, including wet- ting/drying cycles and relative humidity changes, thermomechanical analysis, and accelerated decay tests using water and ethylene glycol. One conclusion of this study is that in some instances, desalination procedures can induce more deterioration than can rigid environmental control. Another conclusion is that attribution of deterioration to the presence of salts may be insufficient, and further petrographic analysis should be initiated prior to desalination of clay-rich limestones. Unconventional methods for possible stabilization of the clay structure (by means of
49 citations
32 citations
TL;DR: In this paper, Ultrasonic misting is used to apply consolidation solutions to powdery surfaces that was developed at the Canadian Conservation Institute in 1989 and tested with four different consolidants, with water and ethanol carriers, and on binderless powdery paints of seven different pigments.
Abstract: Ultrasonic misting is a method of applying consolidation solutions to powdery surfaces that was developed at the Canadian Conservation Institute in 1989. The method was tested with four different consolidants, with water and ethanol carriers, and on binderless powdery paints of seven different pigments. Measurements were made of change in appearance after 1, 4, and 10 applications. Changes in cohesion and adhesion of the paint were measured on three of the pigments. Pigment, solvent, and consolidant all played a significant role in the results. Unacceptable color change can occur after wetting and drying by water alone in clay-type pigments. Gelatin in water gave the widest range of success: acceptable results in all but carbon black.
18 citations
TL;DR: In this article, an economically designed microclimate vitrine for panel paintings, which can be easily produced in-house with minimal aesthetic compromise to the paintings, is described, which uses the picture's frame as the primary housing in combination with museum glazing and a backplate to create a sealed micro climate vitrine.
Abstract: This article describes an economically designed microclimate vitrine for panel paintings, which can be easily produced in-house with minimal aesthetic compromise to the paintings. The design uses the picture's frame as the primary housing in combination with museum glazing and a backplate to create a sealed microclimate vitrine. It is also adaptable to other framed artworks (canvas, paper, parchment) in need of microclimate protection. A summary is given of tests carried out at the Central Research Laboratory in Amsterdam using this design and another more costly commonly used design. The latter consisted of a closed box made of inert materials containing the painting, which in turn is set into the picture's frame. Testing showed that the two designs perform with similar efficiency. Further, the use of silica gel in a closed system with minimized air space is reevaluated. A design plan and materials are included.
16 citations
TL;DR: In this paper, the color fading of transparent glazes is described from two perspectives: first in terms of the colorant loss from photochemical reaction, and then in the color changes that result from that colorant losses.
Abstract: The light fading of transparent glazes is described from two perspectives: first in terms of the colorant loss from photochemical reaction, then in terms of the color changes that result from that colorant loss. The authors postulate that if the rate of colorant loss depends only on the amount of light absorbed at the photochemically active wavelengths, then the results of light exposure of dark and pale glazes should be very different. The loss of colorant in highly absorbing glazes should be constant with exposure, but only minor spectral changes that cause slight hue and chroma changes are produced. In paler glazes that absorb less light, colorant loss from light exposure should be slower than for dark glazes, and it should also become progressively slower as colorant is lost. Despite this slower colorant loss in pale glazes, large spectral changes result, giving rise to the large chroma losses and value increases that are the changes normally associated with fading paints. The general trends p...
14 citations
TL;DR: In this article, a simple procedure using iodine vapor for visualizing penetration depth is described, compared with other methods, such as fluorescent dye indicators, elemental analysis, scanning electron microscopy (SEM) observation, charring in an inert atmosphere, and acid etching, for effectiveness, applicability, and suitability.
Abstract: In evaluating the effectiveness of consolidants for limestone, difficulty is encountered in the determination of the depth of penetration of consolidants. A simple procedure using iodine vapor for visualizing penetration depth is described. The technique is compared with other methods, such as fluorescent dye indicators, elemental analysis, scanning electron microscopy (SEM) observation, charring in an inert atmosphere, and acid etching, for effectiveness, applicability, and suitability.
13 citations
TL;DR: The ultrasonic misting is a technique use- ful for applying small amounts of dilute solutions to objects, particularly for the consolidation of pigment or other thin layers on various types of artifacts and works of art as mentioned in this paper.
Abstract: Ultrasonic misting is a technique use- ful for applying small amounts of dilute solutions to objects, particularly for the consolidation of pigment or other thin layers on various types of artifacts and works of art. The equipment is economical and easily assembled, and the method of application is straight- forward, although it can be labor-intensive because several applications of a relatively low concentration of solution may be required to achieve good results. The ultrasonic mister's main advantage is that it offers a means of finely controlling the quantity, velocity, and location of the solution delivered. This control is most important when treating very fragile objects. In this paper, the equipment and commonly used con- solidants are described, and the authors outline sever- al examples of the application of the ultrasonic mister, including the treatment of the paper gauge of a mica compass, two charcoal drawings, an ink drawing with watercolor, a gouache painting, a pastel and gouache drawing, an oil painting, the paper leaf of a Mandarin fan, the paper head of a dragon kite, four Melanesian tree fern figures, burned archaeological thatch, and red-rotted leather.These examples illustrate the versa- tility of the ultrasonic mister on a diverse range of objects; complete treatment details are not presented.
12 citations
TL;DR: In this article, the effect of temperature on the moisture equilibrium curve of photographic film is discussed, and the practical implications of these data for accelerated incubation studies are discussed; the temperature effect on the rates of moisture conditioning on film in several practical storage configurations and enclosures is presented.
Abstract: The moisture content of photographic film is a critical feature that influences physical properties, mold growth, and chemical stability. It is characterized by the moisture equilibrium curve, which is a plot of the moisture content as a function of the relative humidity. The effect of temperature on the moisture equilibrium curve is the main thrust of this article, which discusses the practical implications of these data for accelerated incubation studies. The temperature effect on the rates of moisture conditioning on film in several practical storage configurations and enclosures is presented. Finally; data are given on the moisture protection afforded by different enclosures, leading to recommendations on the cold storage of photographic film.
11 citations
TL;DR: Burke and Colton as discussed by the authors developed a thermoplastic synthetic wax-resin mixture for compensating losses in objects made from translucent materials, which is an aesthetically pleasing and reversible alternative to other compensation materials such as epoxy and polyester resins or waxes.
Abstract: A thermoplastic synthetic wax-resin mixture was developed by John W. Burke and Steve Colton for compensating losses in objects made from translucent materials. This material is an aesthetically pleasing and reversible alternative to other compensation materials such as epoxy and polyester resins or waxes. The authors describe how the various components of the mixture, including polyvinyl acetate (PVAC) AYAC, ethylene acrylic acid copolymers A-C 540 and 580, antioxidants Irganox 1076 or 1035, and a variety of possible fillers can be melted together, applied to areas of loss, and sculpted to shape.
9 citations
TL;DR: In this paper, the basic principles of the Visual Artists Rights Act (VARA) of 1990 and how the new rights it provides to artists may affect the work of conservators are explained.
Abstract: This article explains the basic principles of the Visual Artists Rights Act (VARA) of 1990 and how the new rights it provides to artists may affect the work of conservators. To aid in this explanation, a brief overview is provided on the evolution of copyright law in Western legal thought and the development of moral rights. After a general background on the adoption of moral rights in the United States through VARA, the article addresses the specific provisions of this statute and their potential impact on the work of conservators. Because an artist may seek other legal remedies against a conservator in addition to VARA if restoration of a work is not successful, the article also looks at the existence of “VARA-like” protections in state and federal laws, the effect of VARA on similar preexisting state provisions, and the possibility that VARA has rendered such provisions invalid. The article concludes with some recommendations to help conservators to avoid incurring legal liability.
9 citations
TL;DR: Puvis de Chavannes's allegorical murals, installed in the Boston Public Library between 1895 and 1896, were recently conserved by the staff of the Straus Center for Conservation as part of an ongoing major renovation of the building as mentioned in this paper.
Abstract: Puvis de Chavannes's allegorical murals, installed in the Boston Public Library between 1895 and 1896, were recently conserved by the staff of the Straus Center for Conservation as part of an ongoing major renovation of the building. The treatment of the murals included the consolidation of large areas of flaking paint, the reattachment of detached canvas sections, and the removal of tenacious surface grime. The opportunity to examine and analyze the Boston murals and to study archival material in France, as well as other murals there, has yielded interesting information about the materials and techniques Puvis used to create his highly individual and influential murals. The authors combine information about the Boston Public Library commission with the methods and materials used in the murals, the conservation treatment, and additional materials analysis.
TL;DR: A biography of the British Egyptologist Alfred Lucas (1867-1945) is given, including a detailed discussion of his most important scientific achievements, such as the rediscovery of the formula for faience and the publication of the landmark study Ancient Egyptian Materials.
Abstract: A biography of the British Egyptologist Alfred Lucas (1867–1945) is given, including a detailed discussion of his most important scientific achievements, such as the rediscovery of the formula for faience and the publication of the landmark study Ancient Egyptian Materials. This paper places particular emphasis on the impact his work had upon the development of archaeological conservation as a profession.
TL;DR: In this paper, Claus & Fritz manufactured a range of their own oil-based paints, supplied in tin tubes, and the results of the analysis characterize the range of pigments and mixtures used, including extenders and the use of additives such as beeswax and resin.
Abstract: poraneous artists, the range of materials it supplied, and the quality controls it applied to its products. Claus & Fritz manufactured a range of its own oilbased paints, supplied in tin tubes. Analysis of the inorganic pigments and binding media of 41 different paints from its 1921 line was carried out in this study. The results of the analysis characterize the range of pigments and mixtures used, including extenders, and the use of additives such as beeswax and resin to the
TL;DR: In this paper, an expert witness in a case involving some looted Byzantine mosaics from Cyprus has examined the role of conservation in the antiquities trade and discussed the concept of archaeological context.
Abstract: Experience as an expert witness in a case involving some looted Byzantine mosaics from Cyprus led the author to examine the role of conservation in the antiquities trade. To understand the significance of looting, the author discusses the concept of archaeological context and how looting robs artifacts of their context, thus severely compromising their scientific value. Conservators may, through treatment and analysis of artifacts on the market, unwittingly contribute to that loss of information. The author presents some of the complex ethical issues involved in the treatment of archaeological material, including the proper understanding of the consequences of those treatments, in the hopes that the topic will be opened up for discussion.
TL;DR: Wide format rolls of polytetrafluoroethylene (PTFE) film, best known as plumber's or Teflon tape, are being developed for use as a final covering on storage supports for objects with particularly fragile or vulnerable surfaces.
Abstract: Wide-format rolls of polytetrafluoroethylene (PTFE) film, best known as plumber's or Teflon tape, are being developed for use as a final covering on storage supports for objects with particularly fragile or vulnerable surfaces. The film's smooth and pliable characteristics are well suited to protecting fragile surfaces from abrasion and similar mechanical damage. Included in the paper are descriptions of how the film was used for rehousing projects at the Arizona State Museum.
TL;DR: A yellow painted side chair attributed to John and Hugh Finlay and in the Collection of the Kaufman Americana Foundation was conserved in a collaborative effort among conservators, conservation scientists, historians, and the owners as discussed by the authors.
Abstract: A yellow painted sidechair, attributed to John and Hugh Finlay and in the Collection of the Kaufman Americana Foundation, was conserved in a collaborative effort among conservators, conservation scientists, historians, and the owners It is one of 11 known examples from a set representing the epitome of neoclassical chairs in the Baltimore style. Eight other examples from the set are in important museum collections, and they have been exhibited and widely illustrated, all in the context of one treatment executed in 1967, which left the chairs heavily over-painted and varnished. The treatment carried out by the authors on the Kaufman Foundation's chair focused on the conservation of the decorative surface. We believe the results will contribute to a reevaluation of the overall aesthetic sophistication of this important object.
TL;DR: In this paper, two housing solutions for unique and delicate art objects made from brittle, dried leaves and another for a group of 12 large maps were devised by the author: one was designed for unique art objects and the other was designed to protect the leaves.
Abstract: Two housing solutions were devised by the author: one for unique and delicate art objects made from brittle, dried leaves and another for a group of 12 large maps. The housing designed for the “leaf portraits” uses a standard print box and a deep double sink with a friction mount as a base to secure and protect the leaves. The map housing is an oversize sink mat made of Coroplast polyflute and Fomecor. Difficulties with adhesion to the Coroplast are briefly discussed, and a detailed construction outline is given.
TL;DR: In this paper, the steps involved in measuring a book for a cradle and in fabricating the cradle are described, as well as some cautionary guidelines for displaying open books in an exhibition.
Abstract: Many people in the conservation field who are also involved in exhibition installation have had experience creating supports designed to hold open books while on exhibit. Those supports have often been devised through a system of trial and error, and an improper support can have serious effects on displayed books. This article describes the steps involved in measuring a book for a cradle and in fabricating the cradle. It also gives information about supplies, as well as some cautionary guidelines. The instructions are presented to be as accessible as possible to all people involved in the exhibition of open books.
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TL;DR: Paper can also be used to store small objects such as scrolls, mixed collections, fans, and objects with fragile edges and irregular lower surfaces as discussed by the authors, which can be used with different adhesives to create inexpensive conformal supports that can be tailored to the physical and chemical needs of the object.
Abstract: Paper can be a very effective support material for housing objects. Historically, works of art and artifacts on paper have been stored in paper enclosures with great success. If housings are properly designed, paper can also be used to store small objects. Papers are available in a wide variety of weights, textures, and chemical compositions. They can be used with different adhesives to create inexpensive, conformal supports that can be tailored to the physical and chemical needs of the object. Designs are described here for scrolls, mixed collections, fans, and objects with fragile edges and irregular lower surfaces.