Vol.67 N°1-2(2022; January-February) 2022-01-01 Vol.67 N°3-4(2022; April-May) 2022-06-21 Vol.67 N°5-6(2022; July-August) 2022-09-20 Vol.67 N°7-8(2022; October-November) 2022-10-01 Vol.68 N°1-2(2023; January-February) 2023-01-01 Vol.68 N°3-4(2023; April-May) 2023-04-03   Studies in conservation / Institut international de conservation des oeuvres historiques et artistiques . Vol.67 N°7-8(2022; October-November)  Mention de date :  2022-10-01 Paru le :  01/10/2022 ISBN/ISSN/EAN : 0039-3630

Dépouillements

Polyvinylamine Gel as a Cleaning Agent for Removing Mineral Crusts from Archaeologically Important Stone Artifacts in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 389-399 Titre : Polyvinylamine Gel as a Cleaning Agent for Removing Mineral Crusts from Archaeologically Important Stone Artifacts Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 389-399 Note générale : Huarui Han, Jianrui Zha, Feng Wang, Linlin Zhou, Ankun Wang & Shuya Wei Langues : Anglais (eng) Catégories : Calcaire -- Conservation et restauration Imagerie infrarouge Marbre -- Conservation et restauration Polymères vinyliques Sculpture en marbre -- Nettoyage -- Méthode comparative Sculpture en pierre -- Nettoyage -- Méthode comparative Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : When stone objects are excavated at archeological sites, they are often covered with crusts of mineral deposits on the surface, which seriously obscure their aesthetic value, especially in the case of polychrome stone statues. To remove these carbonate crusts without damaging the underlying painting and stone matrix, a gel-based cleaning system combining polyvinylamine (PVAm) and acetic acid is proposed. The structures of the PVAm cleaning gels were characterized using X-ray photoelectron spectroscopy and Fourier transform infrared spectroscopy. Employing samples of the typical types of stone used in polychrome statues (marble and limestone) and painted samples, the cleaning efficiencies, surface morphologies, and chromatic alterations resulting from treatment with the different cleaning gels were evaluated and compared. Based on the obtained results, the optimal composition of the PVAm cleaning gel was determined. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1935119 [article] Polyvinylamine Gel as a Cleaning Agent for Removing Mineral Crusts from Archaeologically Important Stone Artifacts [texte imprimé] . - 2022 . - P. 389-399. Huarui Han, Jianrui Zha, Feng Wang, Linlin Zhou, Ankun Wang & Shuya Wei Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 389-399 Catégories : Calcaire -- Conservation et restauration Imagerie infrarouge Marbre -- Conservation et restauration Polymères vinyliques Sculpture en marbre -- Nettoyage -- Méthode comparative Sculpture en pierre -- Nettoyage -- Méthode comparative Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : When stone objects are excavated at archeological sites, they are often covered with crusts of mineral deposits on the surface, which seriously obscure their aesthetic value, especially in the case of polychrome stone statues. To remove these carbonate crusts without damaging the underlying painting and stone matrix, a gel-based cleaning system combining polyvinylamine (PVAm) and acetic acid is proposed. The structures of the PVAm cleaning gels were characterized using X-ray photoelectron spectroscopy and Fourier transform infrared spectroscopy. Employing samples of the typical types of stone used in polychrome statues (marble and limestone) and painted samples, the cleaning efficiencies, surface morphologies, and chromatic alterations resulting from treatment with the different cleaning gels were evaluated and compared. Based on the obtained results, the optimal composition of the PVAm cleaning gel was determined. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1935119

Material Characterisation for Preserving Cultural Heritage: Evidence of the 1595 Fire at Pisa Cathedral in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 400-412 Titre : Material Characterisation for Preserving Cultural Heritage: Evidence of the 1595 Fire at Pisa Cathedral Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 400-412 Langues : Anglais (eng) Catégories : Construction en pierre -- Pise (Italie) -- 12e siècle -- Conservation et restauration Pise (Italie) -- Duomo -- 16e siècle -- Conservation et restauration Pise (Italie) -- Duomo -- 16e siècle -- Effets du feu Pise (Italie) -- Duomo -- Dessins et plans Sols -- Micromorphologie Spectroscopie Raman Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Recent restoration work on Pisa Cathedral provided the opportunity for a multidisciplinary analysis of the monument that identified interesting aspects of its history, preservation, and structural safety. In particular, the study of the matroneum provided clues about the role of the structures in the well-known fire that occurred in 1595. Alteration patterns and damage forms on the stone masonry walls were analysed to better understand their relationship with this catastrophic event. The investigation of the stone specimens enabled textural and mineralogical features typical of fire damage to be identified on the surface. The evidence of fire also provided a terminus ante quem to correctly interpret and diachronically date a damage pattern consisting of cracks in the eastern arch supporting the dome. The cracks were likely to have been induced by a soil consolidation phenomenon related to the renowned leaning of the Pisa tower, centuries before the fire. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1898886 [article] Material Characterisation for Preserving Cultural Heritage: Evidence of the 1595 Fire at Pisa Cathedral [texte imprimé] . - 2022 . - P. 400-412. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 400-412 Catégories : Construction en pierre -- Pise (Italie) -- 12e siècle -- Conservation et restauration Pise (Italie) -- Duomo -- 16e siècle -- Conservation et restauration Pise (Italie) -- Duomo -- 16e siècle -- Effets du feu Pise (Italie) -- Duomo -- Dessins et plans Sols -- Micromorphologie Spectroscopie Raman Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Recent restoration work on Pisa Cathedral provided the opportunity for a multidisciplinary analysis of the monument that identified interesting aspects of its history, preservation, and structural safety. In particular, the study of the matroneum provided clues about the role of the structures in the well-known fire that occurred in 1595. Alteration patterns and damage forms on the stone masonry walls were analysed to better understand their relationship with this catastrophic event. The investigation of the stone specimens enabled textural and mineralogical features typical of fire damage to be identified on the surface. The evidence of fire also provided a terminus ante quem to correctly interpret and diachronically date a damage pattern consisting of cracks in the eastern arch supporting the dome. The cracks were likely to have been induced by a soil consolidation phenomenon related to the renowned leaning of the Pisa tower, centuries before the fire. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1898886

Characterization of the Alteration of Debitus Grisailles in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 413-422 Titre : Characterization of the Alteration of Debitus Grisailles Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 413-422 Langues : Anglais (eng) Catégories : Art du verre -- Conservation et restauration Grisaille (peinture) -- Vitraux -- Portugal -- 16e siècle -- Conservation et restauration Spectroscopie Raman Vitraux -- Conservation et restauration Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Stained glass restoration generally involves filling glass losses to maintain the coherence of the window and the new glasses used to fill the losses can be painted to chromatically reintegrate the stained glass panel. One of the most common painting materials on stained glass is grisaille, a paint made by mixing metal oxides with a ground lead glass. Grisailles usually have black and brown hues and are used for the creation of outlines as shadows in window glasses. Although several commercial companies sell many types of products to paint on glass, few of them present the necessary compatibility with the original materials that conservation materials must have. Debitus is one of the most renowned companies, and its grisailles are frequently used for chromatic reintegration in stained glass window restoration. Thus, the main objective of this study was to assess the long-term stability and durability of commercial Debitus grisailles. Two alteration tests were carried out, with samples placed in high humidity chambers and submerged in distilled water. The samples and degradation products were characterized by optical microscopy, µ-Raman spectroscopy, and colourimetry. In the immersion, the pH of the water was measured during the experiment, and the leached elements were analyzed at the end by inductively coupled plasma atomic emission spectroscopy. The results showed an alteration of the colour and the formation of degradation products, identified as sulphates. The solution pH was increased by the aqueous extraction of alkaline and alkaline-earth ions from the support glass of the samples. Despite these changes, it was possible to conclude that these commercial grisailles presented good durability and stability for use in conservation treatments. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1890965 [article] Characterization of the Alteration of Debitus Grisailles [texte imprimé] . - 2022 . - P. 413-422. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 413-422 Catégories : Art du verre -- Conservation et restauration Grisaille (peinture) -- Vitraux -- Portugal -- 16e siècle -- Conservation et restauration Spectroscopie Raman Vitraux -- Conservation et restauration Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Stained glass restoration generally involves filling glass losses to maintain the coherence of the window and the new glasses used to fill the losses can be painted to chromatically reintegrate the stained glass panel. One of the most common painting materials on stained glass is grisaille, a paint made by mixing metal oxides with a ground lead glass. Grisailles usually have black and brown hues and are used for the creation of outlines as shadows in window glasses. Although several commercial companies sell many types of products to paint on glass, few of them present the necessary compatibility with the original materials that conservation materials must have. Debitus is one of the most renowned companies, and its grisailles are frequently used for chromatic reintegration in stained glass window restoration. Thus, the main objective of this study was to assess the long-term stability and durability of commercial Debitus grisailles. Two alteration tests were carried out, with samples placed in high humidity chambers and submerged in distilled water. The samples and degradation products were characterized by optical microscopy, µ-Raman spectroscopy, and colourimetry. In the immersion, the pH of the water was measured during the experiment, and the leached elements were analyzed at the end by inductively coupled plasma atomic emission spectroscopy. The results showed an alteration of the colour and the formation of degradation products, identified as sulphates. The solution pH was increased by the aqueous extraction of alkaline and alkaline-earth ions from the support glass of the samples. Despite these changes, it was possible to conclude that these commercial grisailles presented good durability and stability for use in conservation treatments. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1890965

Analyzing the Color on Ivory: Scientific Research on a Chinese Panel of the Eighteenth Century in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 423-429 Titre : Analyzing the Color on Ivory: Scientific Research on a Chinese Panel of the Eighteenth Century Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 423-429 Langues : Anglais (eng) Catégories : Carmin -- 18e siècle -- Conservation et restauration Couleurs -- Chine --18e siècle -- Analyse Peinture sur ivoire -- Chine -- 18e siècle -- Conservation et restauration Raman, Effet augmenté en surface Spectroscopie Raman Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Ivory handicraft developed in China 7000 years ago and reached its peak during the Qing dynasty. Among the numerous court collections of ivory handicrafts, a hanging polychrome panel describing a scene of prosperous business at the harbor near Guangzhou with an exquisite embedded ivory carving was analyzed comprehensively for pigments and dyes. A process for painting on ivory was revealed with the help of scientific analysis. In this artifact, the palette included reds made of hematite, cinnabar, and cochineal, blues based on azurite and Prussian blue, and greens made with mixtures of gamboge and Prussian blue. For the first time, surface-enhanced Raman spectroscopy (SERS) was used for analyzing the dyes used on ivory. Besides analyzing the pigments and dyes in painted ivory technology, the dating of the painted artifact was estimated on the basis of pigment manufacturing and trading history. It was concluded that the artifact belonged to the Qianlong Emperor of the Qing dynasty. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1913386 [article] Analyzing the Color on Ivory: Scientific Research on a Chinese Panel of the Eighteenth Century [texte imprimé] . - 2022 . - P. 423-429. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 423-429 Catégories : Carmin -- 18e siècle -- Conservation et restauration Couleurs -- Chine --18e siècle -- Analyse Peinture sur ivoire -- Chine -- 18e siècle -- Conservation et restauration Raman, Effet augmenté en surface Spectroscopie Raman Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Ivory handicraft developed in China 7000 years ago and reached its peak during the Qing dynasty. Among the numerous court collections of ivory handicrafts, a hanging polychrome panel describing a scene of prosperous business at the harbor near Guangzhou with an exquisite embedded ivory carving was analyzed comprehensively for pigments and dyes. A process for painting on ivory was revealed with the help of scientific analysis. In this artifact, the palette included reds made of hematite, cinnabar, and cochineal, blues based on azurite and Prussian blue, and greens made with mixtures of gamboge and Prussian blue. For the first time, surface-enhanced Raman spectroscopy (SERS) was used for analyzing the dyes used on ivory. Besides analyzing the pigments and dyes in painted ivory technology, the dating of the painted artifact was estimated on the basis of pigment manufacturing and trading history. It was concluded that the artifact belonged to the Qianlong Emperor of the Qing dynasty. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1913386

Technical Analysis and Attribution of an Unknown Henryk Siemiradzki Nineteenth Century Painting The Feast of Dionysius I, Revealing a Hidden Composition in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 430-444 Titre : Technical Analysis and Attribution of an Unknown Henryk Siemiradzki Nineteenth Century Painting The Feast of Dionysius I, Revealing a Hidden Composition Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 430-444 Langues : Anglais (eng) Catégories : Imagerie infrarouge Peinture -- Pologne -- 19e siècle -- Attribution Peinture -- Pologne -- 19e siècle -- Conservation et restauration Peinture -- Pologne -- 19e siècle -- Recyclage Pigments -- 19e siècle -- Analyse Siemiradzki, Henryk (1843-1902) Spectroscopie de fluorescence Spectroscopie infrarouge Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : This article presents the results of a study conducted on The Feast of Dionysius I, a previously unknown painting attributed to Henryk Siemiradzki (1843–1902), one of the most prominent Polish painters of the nineteenth century. Analyses were performed to verify the proposed artist. The results were surprising. Not only did they confirm the authenticity of the work, but they also revealed another paint sketch underneath. We determined that the first chronologically created composition was a unique study for Siemiradzki’s famous large-scale painting, Nero’s Torches. It was possible to draw these conclusions by using of imaging at a range of wave lengths and by conducting multiple analyses with the following techniques: optical microscopy in visible light and ultraviolet radiation, scanning electron microscopy coupled with energy dispersive X-ray spectroscopy, X-ray fluorescence spectrometry, and Fourier transform infrared spectroscopy. Our findings were also supported by documentary sources. The results of these analyses were then compared with the database regarding the materials (including pigments) and methods of executing paintings applied by Henryk Siemiradzki. The database was compiled based on the examinations conducted in the National Museum in Krakow of Siemiradzki’s 75 oil paintings En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1898884 [article] Technical Analysis and Attribution of an Unknown Henryk Siemiradzki Nineteenth Century Painting The Feast of Dionysius I, Revealing a Hidden Composition [texte imprimé] . - 2022 . - P. 430-444. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 430-444 Catégories : Imagerie infrarouge Peinture -- Pologne -- 19e siècle -- Attribution Peinture -- Pologne -- 19e siècle -- Conservation et restauration Peinture -- Pologne -- 19e siècle -- Recyclage Pigments -- 19e siècle -- Analyse Siemiradzki, Henryk (1843-1902) Spectroscopie de fluorescence Spectroscopie infrarouge Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : This article presents the results of a study conducted on The Feast of Dionysius I, a previously unknown painting attributed to Henryk Siemiradzki (1843–1902), one of the most prominent Polish painters of the nineteenth century. Analyses were performed to verify the proposed artist. The results were surprising. Not only did they confirm the authenticity of the work, but they also revealed another paint sketch underneath. We determined that the first chronologically created composition was a unique study for Siemiradzki’s famous large-scale painting, Nero’s Torches. It was possible to draw these conclusions by using of imaging at a range of wave lengths and by conducting multiple analyses with the following techniques: optical microscopy in visible light and ultraviolet radiation, scanning electron microscopy coupled with energy dispersive X-ray spectroscopy, X-ray fluorescence spectrometry, and Fourier transform infrared spectroscopy. Our findings were also supported by documentary sources. The results of these analyses were then compared with the database regarding the materials (including pigments) and methods of executing paintings applied by Henryk Siemiradzki. The database was compiled based on the examinations conducted in the National Museum in Krakow of Siemiradzki’s 75 oil paintings En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1898884

The Survival of Maya Blue in Sixteenth-Century Mexican Colonial Mural Paintings in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 445-458 Titre : The Survival of Maya Blue in Sixteenth-Century Mexican Colonial Mural Paintings Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 445-458 Langues : Anglais (eng) Catégories : Art précolombien -- Mexique -- Conservation et restauration Bleu -- Nouvelle-Espagne -- 16e siècle -- Conservation et restauration Couleurs --16e siècle -- Analyse Peinture et décoration murales -- Nouvelle-Espagne -- 16e siècle -- Conservation et restauration Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : The famous Maya blue, a nanostructured hybrid organic–inorganic material, has been the subject of numerous studies since its discovery in 1931. These mainly focused on mural paintings, manuscripts, cultural artifacts from ancient Mesoamerica, and notable examples of syncretic art produced in early colonial times in New Spain as a result of the convergence of Mesoamerican and European traditions. This article reports on the identification of Maya blue in the wall painting programs of four mendicant monasteries founded in Southern and Central Mexico during the sixteenth century. It discusses the pictorial effects, painting mixtures, and artistic inventiveness of indigenous artists who expressed themselves through the quality of color and the meanings of materials by using Maya blue in Christian images. This article proposes that Maya blue reappeared in the palette of local artists in the second half of the sixteenth century, as a traditional technology that integrated the complex worldview of Mesoamerican cultures and their knowledge of its extraction, production, and use in the art of painting. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1913825 [article] The Survival of Maya Blue in Sixteenth-Century Mexican Colonial Mural Paintings [texte imprimé] . - 2022 . - P. 445-458. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 445-458 Catégories : Art précolombien -- Mexique -- Conservation et restauration Bleu -- Nouvelle-Espagne -- 16e siècle -- Conservation et restauration Couleurs --16e siècle -- Analyse Peinture et décoration murales -- Nouvelle-Espagne -- 16e siècle -- Conservation et restauration Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : The famous Maya blue, a nanostructured hybrid organic–inorganic material, has been the subject of numerous studies since its discovery in 1931. These mainly focused on mural paintings, manuscripts, cultural artifacts from ancient Mesoamerica, and notable examples of syncretic art produced in early colonial times in New Spain as a result of the convergence of Mesoamerican and European traditions. This article reports on the identification of Maya blue in the wall painting programs of four mendicant monasteries founded in Southern and Central Mexico during the sixteenth century. It discusses the pictorial effects, painting mixtures, and artistic inventiveness of indigenous artists who expressed themselves through the quality of color and the meanings of materials by using Maya blue in Christian images. This article proposes that Maya blue reappeared in the palette of local artists in the second half of the sixteenth century, as a traditional technology that integrated the complex worldview of Mesoamerican cultures and their knowledge of its extraction, production, and use in the art of painting. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1913825

Technical Study of Ethiopian Copper Alloy Processional Crosses Using Non-Destructive Analysis in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 459-471 Titre : Technical Study of Ethiopian Copper Alloy Processional Crosses Using Non-Destructive Analysis Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 459-471 Langues : Anglais (eng) Catégories : Arts du métal -- Éthiopie -- Conservation et restauration Croix -- Éthiopie -- Conservation et restauration Cuivre -- Alliages -- Éthiopie -- Conservation et restauration Métaux -- Identification Procédés de fabrication Spectroscopie de fluorescence Spectroscopie des rayons X Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : The materials and techniques used to make Ethiopian copper and copper alloy processional crosses from the twelfth to twentieth centuries were investigated through technical study including X-ray fluorescence analysis (XRF). All 20 crosses in this multi-collection study underwent XRF analysis while the eight crosses from the collection of the Virginia Museum of Fine Arts additionally underwent X-radiography and scanning micro-XRF. The documentation of fabrication methods and repairs was carried out using non-destructive methods, including the application of scanning micro-XRF, which in this study, proved to be especially valuable for identifying and mapping solder and cast-on repairs. Additionally, results from XRF analysis confirmed patterns in alloy type related to cross style and chronology. Specifically, bronze was identified as the alloy used to make the earliest (twelfth – fourteenth century) crosses, while the later crosses (post fifteenth century) were found to be made of brass and gunmetal. Crosses dating to what appears to be a transitional period during the fourteenth – fifteenth century were found to be made of a greater variety of materials including copper, bronze, and brass. While the difference in alloy types found in crosses from different time periods may be related to changing preferences or access to certain metals, the mass removal of religious art in the sixteenth century could have also impacted the types of crosses that remain. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1910440 [article] Technical Study of Ethiopian Copper Alloy Processional Crosses Using Non-Destructive Analysis [texte imprimé] . - 2022 . - P. 459-471. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 459-471 Catégories : Arts du métal -- Éthiopie -- Conservation et restauration Croix -- Éthiopie -- Conservation et restauration Cuivre -- Alliages -- Éthiopie -- Conservation et restauration Métaux -- Identification Procédés de fabrication Spectroscopie de fluorescence Spectroscopie des rayons X Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : The materials and techniques used to make Ethiopian copper and copper alloy processional crosses from the twelfth to twentieth centuries were investigated through technical study including X-ray fluorescence analysis (XRF). All 20 crosses in this multi-collection study underwent XRF analysis while the eight crosses from the collection of the Virginia Museum of Fine Arts additionally underwent X-radiography and scanning micro-XRF. The documentation of fabrication methods and repairs was carried out using non-destructive methods, including the application of scanning micro-XRF, which in this study, proved to be especially valuable for identifying and mapping solder and cast-on repairs. Additionally, results from XRF analysis confirmed patterns in alloy type related to cross style and chronology. Specifically, bronze was identified as the alloy used to make the earliest (twelfth – fourteenth century) crosses, while the later crosses (post fifteenth century) were found to be made of brass and gunmetal. Crosses dating to what appears to be a transitional period during the fourteenth – fifteenth century were found to be made of a greater variety of materials including copper, bronze, and brass. While the difference in alloy types found in crosses from different time periods may be related to changing preferences or access to certain metals, the mass removal of religious art in the sixteenth century could have also impacted the types of crosses that remain. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1910440

Comparison of Degradation Behaviour of the Painting Paper in Japanese Scrolls for Moist Heat and Sealed Tube Ageing Methods in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 472-486 Titre : Comparison of Degradation Behaviour of the Painting Paper in Japanese Scrolls for Moist Heat and Sealed Tube Ageing Methods Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 472-486 Langues : Anglais (eng) Catégories : Acides organiques Essais accélérés (technologie) Peinture sur rouleau -- Japon -- Conservation et restauration Peinture sur rouleau -- Japon -- Datation Peinture sur rouleau -- Japon -- Détérioration -- Méthode comparative Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : One of the factors affecting the life expectancy of hanging scrolls is the storage environment. Our study focused on clarifying the degradation behaviour of painting paper, concentrating on the specific storage conditions that provide an airtight environment in a storage box and the stacked structure of the rolled paper rather than considering the materials of the wooden storage box or the gases generated from it. The degradation behaviour and rates for the sealed tube and moist heat ageing methods, excluding the additional effects of light and air pollutants, were compared. When the painting paper was immersed in a CuSO4・5H2O solution instead of a copper green pigment, the oxidation of the painting paper, attributed to Cu2+, proceeded faster with the sealed tube method than with the moist heat method. The co-occurring organic acids generated, namely glycolic and formic acids, which were secondary components, were detected in a higher amount in the first lining paper than the painting paper. This implies that the acids migrated from the painting paper into the lining paper. However, oxalic acid, which was the main component, did not significantly migrate and remained in the reaction system in the sealed tube without volatilising. This increased the hydrogen ion concentration in the painting paper and accelerated acid hydrolysis. Consequently, discolouration and a decrease in the degree of polymerisation and physical strength proceeded faster with the sealed tube method than with the moist heat method. Thus, although this result does not necessarily invalidate the storage system of a rolled hanging scroll in a box, the storage of a deteriorated hanging scroll in a closed system is expected to degrade the painting paper faster than it would in an open system. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2020.1846931 [article] Comparison of Degradation Behaviour of the Painting Paper in Japanese Scrolls for Moist Heat and Sealed Tube Ageing Methods [texte imprimé] . - 2022 . - P. 472-486. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 472-486 Catégories : Acides organiques Essais accélérés (technologie) Peinture sur rouleau -- Japon -- Conservation et restauration Peinture sur rouleau -- Japon -- Datation Peinture sur rouleau -- Japon -- Détérioration -- Méthode comparative Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : One of the factors affecting the life expectancy of hanging scrolls is the storage environment. Our study focused on clarifying the degradation behaviour of painting paper, concentrating on the specific storage conditions that provide an airtight environment in a storage box and the stacked structure of the rolled paper rather than considering the materials of the wooden storage box or the gases generated from it. The degradation behaviour and rates for the sealed tube and moist heat ageing methods, excluding the additional effects of light and air pollutants, were compared. When the painting paper was immersed in a CuSO4・5H2O solution instead of a copper green pigment, the oxidation of the painting paper, attributed to Cu2+, proceeded faster with the sealed tube method than with the moist heat method. The co-occurring organic acids generated, namely glycolic and formic acids, which were secondary components, were detected in a higher amount in the first lining paper than the painting paper. This implies that the acids migrated from the painting paper into the lining paper. However, oxalic acid, which was the main component, did not significantly migrate and remained in the reaction system in the sealed tube without volatilising. This increased the hydrogen ion concentration in the painting paper and accelerated acid hydrolysis. Consequently, discolouration and a decrease in the degree of polymerisation and physical strength proceeded faster with the sealed tube method than with the moist heat method. Thus, although this result does not necessarily invalidate the storage system of a rolled hanging scroll in a box, the storage of a deteriorated hanging scroll in a closed system is expected to degrade the painting paper faster than it would in an open system. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2020.1846931

A Significant Japanese Coffer: A Multi-disciplinary Approach to Examining Late Sixteenth- — Early Seventeenth-Century Export Urushi Ware in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 487-499 Titre : A Significant Japanese Coffer: A Multi-disciplinary Approach to Examining Late Sixteenth- — Early Seventeenth-Century Export Urushi Ware Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 487-499 Langues : Anglais (eng) Catégories : Bois -- Japon -- 17e siècle -- Identification Coffres -- Japon -- 17e siècle -- Conservation et restauration Coffres -- Japon -- 17e siècle -- Datation -- Documentation Datation -- Méthode du carbone 14 Interdisciplinarité dans les sciences Laques (arts décoratifs) -- Japon -- 17e siècle -- Conservation et restauration Microscopie Spectroscopie de réflectance Spectroscopie des rayons X Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : A significant coffer in the Royal Swedish collection, inventory number HGK 406, is examined. The aim is to confirm or add new data concerning its age, provenance, and components of manufacture. The scientific analyses include microscopy of cross and thin sections, wood species identification, scanning electron microscopy with energy-dispersive X-ray spectroscopy, X−ray fluorescence microscopy, pyrolysis-gas chromatography-mass spectrometry, strontium isotope ratio measurement, and radiocarbon dating. To a lesser degree, the investigation also includes excerpting and examining historical documents. The results show that the body wood is Thujopsis dolabrata BUN 1248, a strong indication for a Japanese origin of the coffer. The urushi coating is made with sap harvested in Japan from the species Toxicodendron vernicifluum. The decorations include gold powder, red iron oxide, and cinnabar pigments. Radiocarbon dating supports dating of the coffer, also based on its style, as late sixteenth or early seventeenth century. While all the results may not stand alone, the study shows that a methodology with a multidisciplinary approach can produce new knowledge, as well as support or reject hypotheses arrived at from other kinds of sources. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1902142 [article] A Significant Japanese Coffer: A Multi-disciplinary Approach to Examining Late Sixteenth- — Early Seventeenth-Century Export Urushi Ware [texte imprimé] . - 2022 . - P. 487-499. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 487-499 Catégories : Bois -- Japon -- 17e siècle -- Identification Coffres -- Japon -- 17e siècle -- Conservation et restauration Coffres -- Japon -- 17e siècle -- Datation -- Documentation Datation -- Méthode du carbone 14 Interdisciplinarité dans les sciences Laques (arts décoratifs) -- Japon -- 17e siècle -- Conservation et restauration Microscopie Spectroscopie de réflectance Spectroscopie des rayons X Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : A significant coffer in the Royal Swedish collection, inventory number HGK 406, is examined. The aim is to confirm or add new data concerning its age, provenance, and components of manufacture. The scientific analyses include microscopy of cross and thin sections, wood species identification, scanning electron microscopy with energy-dispersive X-ray spectroscopy, X−ray fluorescence microscopy, pyrolysis-gas chromatography-mass spectrometry, strontium isotope ratio measurement, and radiocarbon dating. To a lesser degree, the investigation also includes excerpting and examining historical documents. The results show that the body wood is Thujopsis dolabrata BUN 1248, a strong indication for a Japanese origin of the coffer. The urushi coating is made with sap harvested in Japan from the species Toxicodendron vernicifluum. The decorations include gold powder, red iron oxide, and cinnabar pigments. Radiocarbon dating supports dating of the coffer, also based on its style, as late sixteenth or early seventeenth century. While all the results may not stand alone, the study shows that a methodology with a multidisciplinary approach can produce new knowledge, as well as support or reject hypotheses arrived at from other kinds of sources. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1902142

Evaluation of the Solubility and Colour Changes of Artificially and Naturally Aged Adhesives for the Conservation of Ceramics and Glass in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 500-517 Titre : Evaluation of the Solubility and Colour Changes of Artificially and Naturally Aged Adhesives for the Conservation of Ceramics and Glass Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 500-517 Langues : Anglais (eng) Catégories : Adhésifs -- Conservation et restauration -- Méthode comparative Adhésifs -- Couleur -- Altération Adhésifs -- Déterioration -- Méthode comparative Adhésifs -- Solubilité Art du verre -- Conservation et restauration Céramique -- Conservation et restauration Polymères vinyliques Réticulation (polymérisation) Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : With the occasion of the exhibition Fatti come nuovi (20 October 1985–12 January 1986), where the most prominent artworks of the Poldi Pezzoli Museum in Milan were shown after restoration, a multidisciplinary project was launched between the Museum and the Italian Montedison group. This project aimed at evaluating several conservation products used at the time in ceramic and glass conservation, such as adhesives and retouching varnishes. In the frame of the project, two-component epoxy adhesives (Plastogen® EP, HXTAL NYL-1), acrylates (Paraloid® B-72, Plastogen® G), vinyl acetate dispersions (Vinavil®, Arkolyn), a polyester resin and cellulose nitrate adhesives (HMG, AGO® Goldsiegel) were studied in terms of their mechanical properties and colour change upon artificial ageing by UV-VIS radiation. Since then, the samples were kept in the dark. Almost 30 years later, the samples have been re-evaluated for changes in solubility and colour upon natural ageing. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1995262 [article] Evaluation of the Solubility and Colour Changes of Artificially and Naturally Aged Adhesives for the Conservation of Ceramics and Glass [texte imprimé] . - 2022 . - P. 500-517. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 500-517 Catégories : Adhésifs -- Conservation et restauration -- Méthode comparative Adhésifs -- Couleur -- Altération Adhésifs -- Déterioration -- Méthode comparative Adhésifs -- Solubilité Art du verre -- Conservation et restauration Céramique -- Conservation et restauration Polymères vinyliques Réticulation (polymérisation) Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : With the occasion of the exhibition Fatti come nuovi (20 October 1985–12 January 1986), where the most prominent artworks of the Poldi Pezzoli Museum in Milan were shown after restoration, a multidisciplinary project was launched between the Museum and the Italian Montedison group. This project aimed at evaluating several conservation products used at the time in ceramic and glass conservation, such as adhesives and retouching varnishes. In the frame of the project, two-component epoxy adhesives (Plastogen® EP, HXTAL NYL-1), acrylates (Paraloid® B-72, Plastogen® G), vinyl acetate dispersions (Vinavil®, Arkolyn), a polyester resin and cellulose nitrate adhesives (HMG, AGO® Goldsiegel) were studied in terms of their mechanical properties and colour change upon artificial ageing by UV-VIS radiation. Since then, the samples were kept in the dark. Almost 30 years later, the samples have been re-evaluated for changes in solubility and colour upon natural ageing. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1995262

Three is the Magic Number: Techniques and Materials of the Prestigious Anne de Montmorency Bronze Virtues in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 518-531 Titre : Three is the Magic Number: Techniques and Materials of the Prestigious Anne de Montmorency Bronze Virtues Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 518-531 Langues : Anglais (eng) Catégories : Bronzes -- Analyse -- Méthode comparative Cuivre -- Alliages -- Conservation et restauration Endoscopie Moulage (sculpture) -- France -- 16e siècle Moulage (sculpture) -- France -- 16e siècle -- Matériaux Sculpture en bronze -- France -- 16e siècle -- Conservation et restauration Sculpture en bronze -- Nettoyage Sculpture en bronze -- Radiographie Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : A technical study of the three exceptional figures adorning the Monument of the Heart of Duke Anne de Montmorency commissioned in 1571 and attributed to the sculptors Barthélémy Prieur and Martin Lefort was carried out. This study includes X-radiography, alloy analysis, characterisation of the refractory core, visual observation of the interior and the exterior of the sculptures, as well as endoscopic examination of the interior. The objective of this study was to fill in further details regarding the fabrication of the figures: where and by whom they were made and how they were cast. In particular, the question of whether the foundryman Nicolas Péron carried out the casting of all three bronzes is addressed here. The results show significant consistency between the three figures, which were cast using a technique commonly employed during the sixteenth century in France, known as the lasagna process. Yet, several specific details linked to the monument commission – the use of chaplets and a sandy-clay mixture defined by a specific grain size distribution – shed light on the working relationship between artist and founder. While the conclusions of this study confirm Prieur’s leadership over the technical aspects of his sculptures, Lefort seems to have been less involved in the casting process and to have relied on the expertise of both Prieur and Péron. Furthermore, the results contribute to a better understanding of the casting of large bronzes during the second half of the sixteenth century by providing key information on the relationship between artists and founders. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1919834 [article] Three is the Magic Number: Techniques and Materials of the Prestigious Anne de Montmorency Bronze Virtues [texte imprimé] . - 2022 . - P. 518-531. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 518-531 Catégories : Bronzes -- Analyse -- Méthode comparative Cuivre -- Alliages -- Conservation et restauration Endoscopie Moulage (sculpture) -- France -- 16e siècle Moulage (sculpture) -- France -- 16e siècle -- Matériaux Sculpture en bronze -- France -- 16e siècle -- Conservation et restauration Sculpture en bronze -- Nettoyage Sculpture en bronze -- Radiographie Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : A technical study of the three exceptional figures adorning the Monument of the Heart of Duke Anne de Montmorency commissioned in 1571 and attributed to the sculptors Barthélémy Prieur and Martin Lefort was carried out. This study includes X-radiography, alloy analysis, characterisation of the refractory core, visual observation of the interior and the exterior of the sculptures, as well as endoscopic examination of the interior. The objective of this study was to fill in further details regarding the fabrication of the figures: where and by whom they were made and how they were cast. In particular, the question of whether the foundryman Nicolas Péron carried out the casting of all three bronzes is addressed here. The results show significant consistency between the three figures, which were cast using a technique commonly employed during the sixteenth century in France, known as the lasagna process. Yet, several specific details linked to the monument commission – the use of chaplets and a sandy-clay mixture defined by a specific grain size distribution – shed light on the working relationship between artist and founder. While the conclusions of this study confirm Prieur’s leadership over the technical aspects of his sculptures, Lefort seems to have been less involved in the casting process and to have relied on the expertise of both Prieur and Péron. Furthermore, the results contribute to a better understanding of the casting of large bronzes during the second half of the sixteenth century by providing key information on the relationship between artists and founders. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1919834

Moisture Interactions Between Mosses and Their Underlying Stone Substrates in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 532-544 Titre : Moisture Interactions Between Mosses and Their Underlying Stone Substrates Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 532-544 Langues : Anglais (eng) Catégories : Calcaire -- Effets du climat Constructions en pierre -- Biodégradation Contrôle non destructif Humidité -- Mesure Monuments historiques -- Conservation et restauration Mousses -- Croissance -- Analyse Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Mosses are a common type of organism found colonising stone in both the natural and built environment. People responsible for managing and conserving historic buildings often worry that mosses can cause biodeterioration, but there is very little research to date on what controls moss growth and the nature and magnitude of their impact. To help fill this knowledge gap, research has been carried out on limestone walls at Kelmscott Manor, the churchyard at Chipping Norton, and in the laboratory on limestone test blocks, to examine the impact of microclimate variations on both the initial colonisation and spread of mosses, and the impact of moss colonisation on temperature, relative humidity, and moisture conditions. The research used a combination of non-destructive and invasive tests to determine the impact of mosses on moisture relations through direct impacts on surface moisture, water absorption capacity, and open porosity. From the results presented, we can infer that mosses have an impact on water uptake and retention on mortar and limestone at both the surface and subsurface level, and that they may play a role in ‘shielding’ the underlying substrate from light rainfall events. The experimental data also suggests that in certain cases, removing mosses may have more of an impact on moisture regimes than leaving them in situ. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1892430 [article] Moisture Interactions Between Mosses and Their Underlying Stone Substrates [texte imprimé] . - 2022 . - P. 532-544. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 532-544 Catégories : Calcaire -- Effets du climat Constructions en pierre -- Biodégradation Contrôle non destructif Humidité -- Mesure Monuments historiques -- Conservation et restauration Mousses -- Croissance -- Analyse Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Mosses are a common type of organism found colonising stone in both the natural and built environment. People responsible for managing and conserving historic buildings often worry that mosses can cause biodeterioration, but there is very little research to date on what controls moss growth and the nature and magnitude of their impact. To help fill this knowledge gap, research has been carried out on limestone walls at Kelmscott Manor, the churchyard at Chipping Norton, and in the laboratory on limestone test blocks, to examine the impact of microclimate variations on both the initial colonisation and spread of mosses, and the impact of moss colonisation on temperature, relative humidity, and moisture conditions. The research used a combination of non-destructive and invasive tests to determine the impact of mosses on moisture relations through direct impacts on surface moisture, water absorption capacity, and open porosity. From the results presented, we can infer that mosses have an impact on water uptake and retention on mortar and limestone at both the surface and subsurface level, and that they may play a role in ‘shielding’ the underlying substrate from light rainfall events. The experimental data also suggests that in certain cases, removing mosses may have more of an impact on moisture regimes than leaving them in situ. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1892430

Trialling an Accessible Non-Contact Photogrammetric Monitoring Technique to Detect 3D Change on Wall Paintings in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 545-555 Titre : Trialling an Accessible Non-Contact Photogrammetric Monitoring Technique to Detect 3D Change on Wall Paintings Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 545-555 Langues : Anglais (eng) Catégories : Conservation et restauration -- Logiciels -- Documentation Imagerie tridimensionnelle Peinture et décoration murales -- Conservation et restauration Peinture et décoration murales -- Détérioration -- Analyse Photogrammétrie Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : The visual comparison of 2D images, or ‘photographic monitoring’, is commonly used in cultural heritage conservation to assess rates of deterioration and the impact of interventions. While it is an accessible technique, three-dimensional changes can be difficult to discern and identifying change can be subjective. Structure from Motion (SfM) photogrammetry, which generates 3D point clouds from digital photographs, has the potential to make monitoring more objective and more informative by recording three dimensions of change rather than two. A methodology was tested on the Romanesque wall paintings of St Botolph’s church, Hardham, UK to develop a SfM photogrammetric condition monitoring system that is affordable, portable, non-contact, and repeatable. Commercially available camera equipment was used for capture, and readily available or free software was used to generate and detect change between two 3D point clouds. Time-SIFT, an in-software workflow of point cloud alignment, was used as a reliable non-contact method to replace adhered or embedded registration points on the wall to align the clouds from different capture epochs. The technique was able to identify change in the wall paintings, with the smallest verified changes at a scale of 0.5 mm. The results are discussed in relation to their advantages over 2D imaging, the avenues for further research, and the limitations of applying the technique on site. This research demonstrates the potential of photogrammetry as an accessible in situ condition monitoring tool using a workflow and equipment tailored to working on sites with wall paintings. [article] Trialling an Accessible Non-Contact Photogrammetric Monitoring Technique to Detect 3D Change on Wall Paintings [texte imprimé] . - 2022 . - P. 545-555. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 545-555 Catégories : Conservation et restauration -- Logiciels -- Documentation Imagerie tridimensionnelle Peinture et décoration murales -- Conservation et restauration Peinture et décoration murales -- Détérioration -- Analyse Photogrammétrie Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : The visual comparison of 2D images, or ‘photographic monitoring’, is commonly used in cultural heritage conservation to assess rates of deterioration and the impact of interventions. While it is an accessible technique, three-dimensional changes can be difficult to discern and identifying change can be subjective. Structure from Motion (SfM) photogrammetry, which generates 3D point clouds from digital photographs, has the potential to make monitoring more objective and more informative by recording three dimensions of change rather than two. A methodology was tested on the Romanesque wall paintings of St Botolph’s church, Hardham, UK to develop a SfM photogrammetric condition monitoring system that is affordable, portable, non-contact, and repeatable. Commercially available camera equipment was used for capture, and readily available or free software was used to generate and detect change between two 3D point clouds. Time-SIFT, an in-software workflow of point cloud alignment, was used as a reliable non-contact method to replace adhered or embedded registration points on the wall to align the clouds from different capture epochs. The technique was able to identify change in the wall paintings, with the smallest verified changes at a scale of 0.5 mm. The results are discussed in relation to their advantages over 2D imaging, the avenues for further research, and the limitations of applying the technique on site. This research demonstrates the potential of photogrammetry as an accessible in situ condition monitoring tool using a workflow and equipment tailored to working on sites with wall paintings.

Revealing the Fugitive Palette of the Early American South: A SERS Study of Eighteenth-century Oil Paintings in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 556-568 Titre : Revealing the Fugitive Palette of the Early American South: A SERS Study of Eighteenth-century Oil Paintings Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 556-568 Langues : Anglais (eng) Catégories : Couleur -- Altération Peinture à l'huile -- 18e siècle -- Analyse Peintures -- 18e siècle -- Colonies britanniques -- Amérique Pigments minéraux -- Déterioration Raman, Effet augmenté en surface Spectroscopie Raman Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : The identification of organic colorants in traditional oil paintings is an important and challenging area of conservation research. Since many organic dyes and pigments are fugitive, the detection of these materials is crucial for the proper assessment of fading, conservation treatment, and the prevention of further photodamage. While numerous methods exist to characterize colorants, recent advances in surface-enhanced Raman scattering (SERS) methodologies have enabled the unambiguous identification of various organic dyestuffs in oil paintings in a minimally invasive manner. Here, we apply a collection of SERS-based protocols to identify the organic pigments used in a number of oil paintings that were made in the Southern British colonies of North America during the eighteenth century and are being prepared for exhibition at the Art Museums of Colonial Williamsburg. Questions arose during the painting examinations that would appear to involve color shifts and possible fading. The SERS results reveal the identity of several organic pigments (i.e. carmine lake, madder lake, Reseda lake, indigo, gamboge) in these eighteenth-century portraits, within the broad-scale quantity-rich areas of the composition as well as the more challenging flesh tones and small, yet important, detail regions. We discover the continued use of carmine lake in seven of the ten paintings and identify the blue and yellow organic pigments used in this group, both of which contribute to our understanding of pigment availability and artists’ choices, as well as supporting the more accurate assessment of condition and the artists’ original intent. [article] Revealing the Fugitive Palette of the Early American South: A SERS Study of Eighteenth-century Oil Paintings [texte imprimé] . - 2022 . - P. 556-568. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 556-568 Catégories : Couleur -- Altération Peinture à l'huile -- 18e siècle -- Analyse Peintures -- 18e siècle -- Colonies britanniques -- Amérique Pigments minéraux -- Déterioration Raman, Effet augmenté en surface Spectroscopie Raman Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : The identification of organic colorants in traditional oil paintings is an important and challenging area of conservation research. Since many organic dyes and pigments are fugitive, the detection of these materials is crucial for the proper assessment of fading, conservation treatment, and the prevention of further photodamage. While numerous methods exist to characterize colorants, recent advances in surface-enhanced Raman scattering (SERS) methodologies have enabled the unambiguous identification of various organic dyestuffs in oil paintings in a minimally invasive manner. Here, we apply a collection of SERS-based protocols to identify the organic pigments used in a number of oil paintings that were made in the Southern British colonies of North America during the eighteenth century and are being prepared for exhibition at the Art Museums of Colonial Williamsburg. Questions arose during the painting examinations that would appear to involve color shifts and possible fading. The SERS results reveal the identity of several organic pigments (i.e. carmine lake, madder lake, Reseda lake, indigo, gamboge) in these eighteenth-century portraits, within the broad-scale quantity-rich areas of the composition as well as the more challenging flesh tones and small, yet important, detail regions. We discover the continued use of carmine lake in seven of the ten paintings and identify the blue and yellow organic pigments used in this group, both of which contribute to our understanding of pigment availability and artists’ choices, as well as supporting the more accurate assessment of condition and the artists’ original intent.

Phosphorus, Tungsten, and Molybdenum – from Brilliant to Fanal®: Unusual Precipitation Methods of Triphenylmethane Dyes in the Early Twentieth Century in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 569-583 Titre : Phosphorus, Tungsten, and Molybdenum – from Brilliant to Fanal®: Unusual Precipitation Methods of Triphenylmethane Dyes in the Early Twentieth Century Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 569-583 Langues : Anglais (eng) Catégories : Carbone -- Composés Composés phényliques Couleur -- Altération Peinture (produit chimique) -- Constituants Pigments -- Documentation Pigments -- Identification Précipitation (chimie) Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Triphenylmethane based dyes became popular after their invention in 1858 due to their brilliant shades and high tinting strengths and were used not only as colourants for textile and paper dyeing, but also as pigments in artists' materials under the commercial name ‘Fanal®’. However, the extent of their use as pigments in artists’ paints has thus far remained unknown. Despite their bright colours, the characteristic low lightfastness of their dyes and pigments inspired further research for new precipitation methods to increase lightfastness, which ultimately resulted in precipitation using complex salts of phosphorus, tungsten, and molybdenum. The present study is based on archival source research from I.G. Farben, the former producer of Fanal®, and Royal Talens, an artists’ paint manufacturer that used these pigments. This research focuses on the history of developments in precipitation methodologies employed for early triphenylmethane dyes and the development of the various lines of Fanal® pigments in oil paints produced by the Dutch manufacturer Talens in the late 1920s and onwards. Historic literature sources, such as the Talens publication Kunstschildersmaterialen en Schildertechniek by Frits Kerdijk that document the application of Fanal® pigments, are also highlighted. En ligne : https://www.tandfonline.com/toc/ysic20/67/8?nav=tocList [article] Phosphorus, Tungsten, and Molybdenum – from Brilliant to Fanal®: Unusual Precipitation Methods of Triphenylmethane Dyes in the Early Twentieth Century [texte imprimé] . - 2022 . - P. 569-583. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 569-583 Catégories : Carbone -- Composés Composés phényliques Couleur -- Altération Peinture (produit chimique) -- Constituants Pigments -- Documentation Pigments -- Identification Précipitation (chimie) Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Triphenylmethane based dyes became popular after their invention in 1858 due to their brilliant shades and high tinting strengths and were used not only as colourants for textile and paper dyeing, but also as pigments in artists' materials under the commercial name ‘Fanal®’. However, the extent of their use as pigments in artists’ paints has thus far remained unknown. Despite their bright colours, the characteristic low lightfastness of their dyes and pigments inspired further research for new precipitation methods to increase lightfastness, which ultimately resulted in precipitation using complex salts of phosphorus, tungsten, and molybdenum. The present study is based on archival source research from I.G. Farben, the former producer of Fanal®, and Royal Talens, an artists’ paint manufacturer that used these pigments. This research focuses on the history of developments in precipitation methodologies employed for early triphenylmethane dyes and the development of the various lines of Fanal® pigments in oil paints produced by the Dutch manufacturer Talens in the late 1920s and onwards. Historic literature sources, such as the Talens publication Kunstschildersmaterialen en Schildertechniek by Frits Kerdijk that document the application of Fanal® pigments, are also highlighted. En ligne : https://www.tandfonline.com/toc/ysic20/67/8?nav=tocList

An Investigation of Discoloured Oil-bound Copper Green Glazes in a Seventeenth-century Harpsichord Lid, With Reference to Reconstructions in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 584-602 Titre : An Investigation of Discoloured Oil-bound Copper Green Glazes in a Seventeenth-century Harpsichord Lid, With Reference to Reconstructions Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 584-602 Langues : Anglais (eng) Catégories : Acétates Chlorure cuivreux Glaçures -- 17e siècle -- Conservation et restauration Glaçures -- 17e siècle -- Déterioration Huile de lin Microscopie Oxydation Oxydes de cuivre -- Dans l'art -- 17e siècle Radiocristallographie Spectroscopie des rayons X Index. décimale : 7.025 Dommages. Conservation. Protection En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1954440 [article] An Investigation of Discoloured Oil-bound Copper Green Glazes in a Seventeenth-century Harpsichord Lid, With Reference to Reconstructions [texte imprimé] . - 2022 . - P. 584-602. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 584-602 Catégories : Acétates Chlorure cuivreux Glaçures -- 17e siècle -- Conservation et restauration Glaçures -- 17e siècle -- Déterioration Huile de lin Microscopie Oxydation Oxydes de cuivre -- Dans l'art -- 17e siècle Radiocristallographie Spectroscopie des rayons X Index. décimale : 7.025 Dommages. Conservation. Protection En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1954440

The Behavior of Different Varnishes Applied to Graphic Artworks: Comparison Using a Methodological Protocol in Studies in conservation, Vol.67 N°7-8(2022; October-November) (2022-10-01)  

Public ISBD [article]  inStudies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 603-611 Titre : The Behavior of Different Varnishes Applied to Graphic Artworks: Comparison Using a Methodological Protocol Type de document : texte imprimé Année de publication : 2022 Article en page(s) : P. 603-611 Langues : Anglais (eng) Catégories : Essais accélérés (technologie) Résistance des matériaux Vernis -- Dynamique -- Analyse -- Méthodologie Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : This paper presents the results of a series of tests – using a recently-published set of methodological guidelines referred to here as the Protocol – on varnishes traditionally used in the protection and enhancement of graphic artworks. The aim of the research was to study the characteristics of different varnishes when they are applied to a graphic artwork and to analyze their behavior when exposed to conditions that cause alterations, be these natural factors, accidental, or the result of a conservation intervention. Lastly, the study sought to determine whether each varnish was suitable for conservation purposes. Five varnishes were selected for the study: egg white, gum arabic, shellac, rosin, and dammar. Paper test samples were used to study the characteristics of the recently applied varnishes: dimensions, weight, thickness, color, brightness/gloss, pH, surface appearance, drying time, degree of absorption by the substrate, and adhesion to the substrate. The behavior of varnishes was studied via a series of tests that recreated adverse conditions (humidity, light, and temperature). These tested for resistance to ambient humidity, immersion in water, dry-heat aging, and aging in a climate test chamber. After applying the Protocol it was concluded that the varnishes most resistant to different alteration factors are gum arabic and dammar resin. By contrast, shellac and rosin are the most susceptible to alterations, which precludes their use as a conservation material. As well as indicating the varnishes that present the minimum interaction with the substrate and the greatest long-term durability, the results of this research also provide a useful guide to the behavior of these varnishes for their use in preventive conservation. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1975611 [article] The Behavior of Different Varnishes Applied to Graphic Artworks: Comparison Using a Methodological Protocol [texte imprimé] . - 2022 . - P. 603-611. Langues : Anglais (eng) in Studies in conservation > Vol.67 N°7-8(2022; October-November) (2022-10-01) . - P. 603-611 Catégories : Essais accélérés (technologie) Résistance des matériaux Vernis -- Dynamique -- Analyse -- Méthodologie Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : This paper presents the results of a series of tests – using a recently-published set of methodological guidelines referred to here as the Protocol – on varnishes traditionally used in the protection and enhancement of graphic artworks. The aim of the research was to study the characteristics of different varnishes when they are applied to a graphic artwork and to analyze their behavior when exposed to conditions that cause alterations, be these natural factors, accidental, or the result of a conservation intervention. Lastly, the study sought to determine whether each varnish was suitable for conservation purposes. Five varnishes were selected for the study: egg white, gum arabic, shellac, rosin, and dammar. Paper test samples were used to study the characteristics of the recently applied varnishes: dimensions, weight, thickness, color, brightness/gloss, pH, surface appearance, drying time, degree of absorption by the substrate, and adhesion to the substrate. The behavior of varnishes was studied via a series of tests that recreated adverse conditions (humidity, light, and temperature). These tested for resistance to ambient humidity, immersion in water, dry-heat aging, and aging in a climate test chamber. After applying the Protocol it was concluded that the varnishes most resistant to different alteration factors are gum arabic and dammar resin. By contrast, shellac and rosin are the most susceptible to alterations, which precludes their use as a conservation material. As well as indicating the varnishes that present the minimum interaction with the substrate and the greatest long-term durability, the results of this research also provide a useful guide to the behavior of these varnishes for their use in preventive conservation. En ligne : https://www.tandfonline.com/doi/abs/10.1080/00393630.2021.1975611