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.68 N°1-2(2023; January-February)  Mention de date :  2023-01-01 Paru le :  01/01/2023

Dépouillements

Before the Fire : Experiments on Fire-protecting Cover Materials in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 1-8 Titre : Before the Fire : Experiments on Fire-protecting Cover Materials Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 1-8 Langues : Anglais (eng) Catégories : Ignifugeants Incendies -- Musées -- Art -- Protection Incendies -- Musées -- Expériences Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Den Gamle By (The Old Town) in Aarhus, Denmark, exhibits many valuable artefacts that are impossible to evacuate in an emergency. Studies were carried out to investigate whether it is possible to protect them in case of fire using a fire-retardant cover. In this experiment, eight different types of covers were tested in a realistic fire experiment. The results show that it is possible to find suitable materials for the protection of museum artefacts in the event of fire. [article] Before the Fire : Experiments on Fire-protecting Cover Materials [texte imprimé] . - 2023 . - P. 1-8. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 1-8 Catégories : Ignifugeants Incendies -- Musées -- Art -- Protection Incendies -- Musées -- Expériences Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Den Gamle By (The Old Town) in Aarhus, Denmark, exhibits many valuable artefacts that are impossible to evacuate in an emergency. Studies were carried out to investigate whether it is possible to protect them in case of fire using a fire-retardant cover. In this experiment, eight different types of covers were tested in a realistic fire experiment. The results show that it is possible to find suitable materials for the protection of museum artefacts in the event of fire.

A Critical Assessment of A-D Strips® Used in Degradation Studies of Artworks Made from Cellulose Acetate in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 9-17 Titre : A Critical Assessment of A-D Strips® Used in Degradation Studies of Artworks Made from Cellulose Acetate Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 9-17 Langues : Anglais (eng) Catégories : Acétate de cellulose -- Détérioration Acide acétique Composés organiques volatils Spectrophotomètres Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Acid-detecting strips (A-D Strips®) available from the Image Permanence Institute (IPI) and third-party suppliers outside the USA were originally developed to detect volatile acids from deteriorating film stock made from cellulose acetate (CA) by using a five-step colour scale to represent acetic acid concentration. The strips are shown here to be sufficiently sensitive for the detection of acetic acid as a volatile organic compound (VOC) generated by degrading CA in objects in storage. In confined spaces, the local air concentration of VOCs can deviate significantly from background levels due to low air circulation and interaction with solid materials and can be explored by this means. The usefulness of placing a number of A-D Strips® with CA-based artworks stored in closed containers, instead of or during the deployment of SPME fibres to monitor the degradation of these plastics, is assessed critically. The useful level of indicative and semi-quantitative information they can offer in such practical situations is presented. It is proposed that an interpretation of acetic acid concentration on an eight-step colour scale of measurement of b* in CIELAB1976 colour space with a hand-held spectrophotometer, or visual comparison with the IPI-provided colour scale is more useful than a direct calculation of concentration, because placement around stored objects introduces significant measurement errors. This paper gives guidance on the limitations and benefits of using A-D Strips® as a low-cost passive monitoring tool for CA-based objects, whether visibly degraded or not. The guidance is also relevant for monitoring VOCs derived from wood-based crating materials used in museum storage areas, which also generate acetic acid. [article] A Critical Assessment of A-D Strips® Used in Degradation Studies of Artworks Made from Cellulose Acetate [texte imprimé] . - 2023 . - P. 9-17. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 9-17 Catégories : Acétate de cellulose -- Détérioration Acide acétique Composés organiques volatils Spectrophotomètres Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Acid-detecting strips (A-D Strips®) available from the Image Permanence Institute (IPI) and third-party suppliers outside the USA were originally developed to detect volatile acids from deteriorating film stock made from cellulose acetate (CA) by using a five-step colour scale to represent acetic acid concentration. The strips are shown here to be sufficiently sensitive for the detection of acetic acid as a volatile organic compound (VOC) generated by degrading CA in objects in storage. In confined spaces, the local air concentration of VOCs can deviate significantly from background levels due to low air circulation and interaction with solid materials and can be explored by this means. The usefulness of placing a number of A-D Strips® with CA-based artworks stored in closed containers, instead of or during the deployment of SPME fibres to monitor the degradation of these plastics, is assessed critically. The useful level of indicative and semi-quantitative information they can offer in such practical situations is presented. It is proposed that an interpretation of acetic acid concentration on an eight-step colour scale of measurement of b* in CIELAB1976 colour space with a hand-held spectrophotometer, or visual comparison with the IPI-provided colour scale is more useful than a direct calculation of concentration, because placement around stored objects introduces significant measurement errors. This paper gives guidance on the limitations and benefits of using A-D Strips® as a low-cost passive monitoring tool for CA-based objects, whether visibly degraded or not. The guidance is also relevant for monitoring VOCs derived from wood-based crating materials used in museum storage areas, which also generate acetic acid.

Conservation of Watts Towers : A Case Study in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 18-35 Titre : Conservation of Watts Towers : A Case Study Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 18-35 Langues : Anglais (eng) Catégories : Corrosion Maçonnerie -- 20e siècle -- Dans l'art -- Conservation et restauration Rodia, Simon (1879-1965) Sculpture monumentale -- Los Angeles (Calif., États-Unis) -- 20e siècle -- Conservation et restauration Soudures -- Conservation et restauration Watts Towers (Los Angeles, Calif.) -- Conservation et restauration Résumé : Watts Towers is a National Historic Landmark located in South Central Los Angeles and is widely considered one of the finest examples of outsider art in the United States. It is an assemblage of interconnected sculptures fabricated from reinforced masonry including three tall towers, two of which measure over 30.5 m in height. In this case study, the authors discuss recent efforts by the Los Angeles County Museum of Art to conserve the towers with an emphasis on how various environmental factors impact the structures and inform the selection of materials and techniques used in their repair. The impact of past conservation campaigns and the loss of original material is also discussed in terms of how best to interpret and document the alterations the towers have undergone over the years. [article] Conservation of Watts Towers : A Case Study [texte imprimé] . - 2023 . - P. 18-35. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 18-35 Catégories : Corrosion Maçonnerie -- 20e siècle -- Dans l'art -- Conservation et restauration Rodia, Simon (1879-1965) Sculpture monumentale -- Los Angeles (Calif., États-Unis) -- 20e siècle -- Conservation et restauration Soudures -- Conservation et restauration Watts Towers (Los Angeles, Calif.) -- Conservation et restauration Résumé : Watts Towers is a National Historic Landmark located in South Central Los Angeles and is widely considered one of the finest examples of outsider art in the United States. It is an assemblage of interconnected sculptures fabricated from reinforced masonry including three tall towers, two of which measure over 30.5 m in height. In this case study, the authors discuss recent efforts by the Los Angeles County Museum of Art to conserve the towers with an emphasis on how various environmental factors impact the structures and inform the selection of materials and techniques used in their repair. The impact of past conservation campaigns and the loss of original material is also discussed in terms of how best to interpret and document the alterations the towers have undergone over the years.

Finding a Temporary Adhesive for Securing Objects for Display in Earthquake-Prone Regions in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 36-42 Titre : Finding a Temporary Adhesive for Securing Objects for Display in Earthquake-Prone Regions Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 36-42 Langues : Anglais (eng) Catégories : Adhésifs -- Conservation et restauration -- Méthode comparative Céramique -- Effets des séismes Objets d'art -- Effets des séismes -- Simulation, Méthodes de Verrerie -- Effets des séismes Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : New Zealand institutions and private collectors use both QuakeHold!™ Museum Wax and Rhoplex® N-580 to temporarily secure their objects on display, though the manufacture of Rhoplex® N-580 was discontinued in 2018. This paper studies the efficacy of a select group of adhesives to produce similar stabilising effects for terracotta and glass objects during seismic events, while also exhibiting properties which meet standards for conservation and display. Shake-table and tilt table test methods were used to imitate the effects of an earthquake on two types of objects secured to painted medium-density fibreboard or acrylic. Lascaux® 303HV shows promise for use as a temporary adhesive for small objects on display. [article] Finding a Temporary Adhesive for Securing Objects for Display in Earthquake-Prone Regions [texte imprimé] . - 2023 . - P. 36-42. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 36-42 Catégories : Adhésifs -- Conservation et restauration -- Méthode comparative Céramique -- Effets des séismes Objets d'art -- Effets des séismes -- Simulation, Méthodes de Verrerie -- Effets des séismes Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : New Zealand institutions and private collectors use both QuakeHold!™ Museum Wax and Rhoplex® N-580 to temporarily secure their objects on display, though the manufacture of Rhoplex® N-580 was discontinued in 2018. This paper studies the efficacy of a select group of adhesives to produce similar stabilising effects for terracotta and glass objects during seismic events, while also exhibiting properties which meet standards for conservation and display. Shake-table and tilt table test methods were used to imitate the effects of an earthquake on two types of objects secured to painted medium-density fibreboard or acrylic. Lascaux® 303HV shows promise for use as a temporary adhesive for small objects on display.

Changes in the Degree of Degradation with Position of Painting Papers in Japanese Hanging Scrolls by Accelerated Ageing Using Open and Sealed Tube Methods in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 43-53 Titre : Changes in the Degree of Degradation with Position of Painting Papers in Japanese Hanging Scrolls by Accelerated Ageing Using Open and Sealed Tube Methods Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 43-53 Langues : Anglais (eng) Catégories : Acides organiques Essais accélérés (technologie) Fibres cellulosiques -- Analyse Papier -- Couleur -- Altération Peinture sur rouleau -- Japon -- Conservation et restauration Peinture sur rouleau -- Japon -- Détérioration -- Méthode comparative Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : To understand the degradation behaviour of rolled hanging scrolls for future conservation treatments, we evaluated the degradation–position profiles of naturally aged hanging scrolls and their model samples, which were subjected to different storage conditions. For the sample immersed in a CuSO4・5H2O solution and rolled around a glass rod, accelerated ageing using the open method (80°C, 65% RH) revealed a tendency of lower pH and higher discolouration towards the central positions, where rolling caused the most tightness. However, no clear tendencies were observed for the concentration variations of organic acids. The degradation effects of the organic acids emitted from the paulownia wooden box were also examined using the sealed tube method by enclosing the rolled painting paper and acidic paper containing organic acids together in a glass tube. Large amounts of oxalic and formic acids were detected at the periphery and scant migration of the organic acids was observed towards the centre, thus indicating that the central positions of the painting paper were less susceptible to the influence of the organic acids emitted from the external environment. By contrast, glycolic acid diffused towards the centre. The analysis of two naturally aged hanging scrolls showed different degradation behaviours. One sample, stored open in the rolled state, showed severe discolouration with the naked eye at the outermost back surface of the scroll. This was possibly associated with the large amount of sulfate ions originating from the external atmosphere, which kept the pH lower and increased discolouration towards the peripheral positions of the painting paper. For the sample stored in a paulownia wooden box, discolouration was not observed with the naked eye at the outermost back surface of the scroll, although lower pH and higher discolouration were observed towards the central positions. [article] Changes in the Degree of Degradation with Position of Painting Papers in Japanese Hanging Scrolls by Accelerated Ageing Using Open and Sealed Tube Methods [texte imprimé] . - 2023 . - P. 43-53. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 43-53 Catégories : Acides organiques Essais accélérés (technologie) Fibres cellulosiques -- Analyse Papier -- Couleur -- Altération Peinture sur rouleau -- Japon -- Conservation et restauration Peinture sur rouleau -- Japon -- Détérioration -- Méthode comparative Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : To understand the degradation behaviour of rolled hanging scrolls for future conservation treatments, we evaluated the degradation–position profiles of naturally aged hanging scrolls and their model samples, which were subjected to different storage conditions. For the sample immersed in a CuSO4・5H2O solution and rolled around a glass rod, accelerated ageing using the open method (80°C, 65% RH) revealed a tendency of lower pH and higher discolouration towards the central positions, where rolling caused the most tightness. However, no clear tendencies were observed for the concentration variations of organic acids. The degradation effects of the organic acids emitted from the paulownia wooden box were also examined using the sealed tube method by enclosing the rolled painting paper and acidic paper containing organic acids together in a glass tube. Large amounts of oxalic and formic acids were detected at the periphery and scant migration of the organic acids was observed towards the centre, thus indicating that the central positions of the painting paper were less susceptible to the influence of the organic acids emitted from the external environment. By contrast, glycolic acid diffused towards the centre. The analysis of two naturally aged hanging scrolls showed different degradation behaviours. One sample, stored open in the rolled state, showed severe discolouration with the naked eye at the outermost back surface of the scroll. This was possibly associated with the large amount of sulfate ions originating from the external atmosphere, which kept the pH lower and increased discolouration towards the peripheral positions of the painting paper. For the sample stored in a paulownia wooden box, discolouration was not observed with the naked eye at the outermost back surface of the scroll, although lower pH and higher discolouration were observed towards the central positions.

Microscale Physical and Mechanical Analyses of Distemper Paint : A Case Study of Eidsborg Stave Church, Norway in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 54-67 Titre : Microscale Physical and Mechanical Analyses of Distemper Paint : A Case Study of Eidsborg Stave Church, Norway Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 54-67 Note générale : Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1925487 Langues : Anglais (eng) Catégories : Adsorption Analyse quantitative (chimie) Art -- Matériaux -- Conservation et restauration Craie Détrempe (peinture) -- Analyse Maquettes (sculpture) Microtomographie Nanoindentation Pigments -- Analyse Vapeur, Technique de la Mots-clés : Concentration pigmentaire volumique (CPV)  Sorption Dynamique de Vapeur d'eau (DVS) Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : This study focuses on the use of micro-sensitive methods – nanoindentation, dynamic water vapour sorption, and X-ray microtomography – to examine the physical properties of small volumes of artists’ materials. The novel methodology proposed in this paper was tested on laboratory-prepared chalk-based ground samples and subsequently applied to distemper paint samples taken from the polychrome walls of Eidsborg stave church. This article discusses key parameters that can be used to inform macro-sized mock-ups mimicking physical and mechanical behaviour of artistic materials, and highlights limitations of such an approach for highly heterogeneous paint systems. Dynamic water vapour sorption measurements allowed determination of the pigment volume concentration (PVC) of distemper paint from Eidsborg stave church as 95%. To the authors’ knowledge, this represents the first assessment of PVC for historic distemper paint using a non-destructive experimental technique, which can be extended to other hygroscopic samples of known composition. [article] Microscale Physical and Mechanical Analyses of Distemper Paint : A Case Study of Eidsborg Stave Church, Norway [texte imprimé] . - 2023 . - P. 54-67. Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1925487 Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 54-67 Catégories : Adsorption Analyse quantitative (chimie) Art -- Matériaux -- Conservation et restauration Craie Détrempe (peinture) -- Analyse Maquettes (sculpture) Microtomographie Nanoindentation Pigments -- Analyse Vapeur, Technique de la Mots-clés : Concentration pigmentaire volumique (CPV)  Sorption Dynamique de Vapeur d'eau (DVS) Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : This study focuses on the use of micro-sensitive methods – nanoindentation, dynamic water vapour sorption, and X-ray microtomography – to examine the physical properties of small volumes of artists’ materials. The novel methodology proposed in this paper was tested on laboratory-prepared chalk-based ground samples and subsequently applied to distemper paint samples taken from the polychrome walls of Eidsborg stave church. This article discusses key parameters that can be used to inform macro-sized mock-ups mimicking physical and mechanical behaviour of artistic materials, and highlights limitations of such an approach for highly heterogeneous paint systems. Dynamic water vapour sorption measurements allowed determination of the pigment volume concentration (PVC) of distemper paint from Eidsborg stave church as 95%. To the authors’ knowledge, this represents the first assessment of PVC for historic distemper paint using a non-destructive experimental technique, which can be extended to other hygroscopic samples of known composition.

Treating Smalt : A Preliminary SEM-EDX Study of the Effects of Aqueous-based Alkaline Conservation Treatments on Smalt in Wall Paintings in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 68-83 Titre : Treating Smalt : A Preliminary SEM-EDX Study of the Effects of Aqueous-based Alkaline Conservation Treatments on Smalt in Wall Paintings Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 68-83 Note générale : Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1940721 Langues : Anglais (eng) Catégories : Baryum -- Composés Lixiviation Microscopie électronique à balayage Peinture et décoration murales de la Renaissance -- Conservation et restauration pH -- Mesure Pigments -- Conservation et restauration -- Effets de l'eau Pigments -- Déterioration -- Méthode comparative Sels d'ammonium Solutions aqueuses (chimie) Spectroscopie des rayons X Mots-clés : Smalt Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Smalt is a blue cobalt-coloured glass pigment used in European wall paintings from the early Renaissance period that became a popular choice for artists due to its unique tone, availability, and versatility. The pigment has long been considered as stable in an alkaline environment since it was applied with lime-based techniques and generally retained its colour over time. This perceived stability has meant that aqueous-based alkaline treatments, often involving high pH values, substantial quantities of liquid, and long contact times, have been used in conservation treatments. However, studies of the kinetics of glass deterioration in the past few years have demonstrated that glass is highly reactive in contact with water and substances with both high and low pH values. Research into smalt deterioration in canvas paintings has shown that smalt is susceptible to elemental leaching and physical changes in contact with water and low pH values; however, there is little specific information about the conservation implications of these findings on the treatment of smalt in wall paintings. This experimental study explores several aspects of how aqueous-based alkaline conservation treatments affect smalt grains in lime-based wall paintings: the influence of painting technique, exposure of the pictorial layer to water before treatment, and pH values and contact times during treatment. Replicas representing three different painting techniques were created, exposed to liquid water or water vapour, and treated with three substances commonly used in conservation according to accepted practices in terms of preparation and application. Chemical and physical changes in the pigment were then analysed using scanning electron microscopy with energy dispersive X-ray spectroscopy. Results confirmed that aqueous-based alkaline substances provoke chemical changes as well as physical deterioration in smalt applied in lime-based techniques evidenced by leaching, corrosion, and cracking in the pigment grains. Crucial factors found to influence the impact of treatments on smalt included the previous exposure to humidity of the pictorial layer, the pH value of the treatment, and extended contact times. [article] Treating Smalt : A Preliminary SEM-EDX Study of the Effects of Aqueous-based Alkaline Conservation Treatments on Smalt in Wall Paintings [texte imprimé] . - 2023 . - P. 68-83. Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1940721 Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 68-83 Catégories : Baryum -- Composés Lixiviation Microscopie électronique à balayage Peinture et décoration murales de la Renaissance -- Conservation et restauration pH -- Mesure Pigments -- Conservation et restauration -- Effets de l'eau Pigments -- Déterioration -- Méthode comparative Sels d'ammonium Solutions aqueuses (chimie) Spectroscopie des rayons X Mots-clés : Smalt Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Smalt is a blue cobalt-coloured glass pigment used in European wall paintings from the early Renaissance period that became a popular choice for artists due to its unique tone, availability, and versatility. The pigment has long been considered as stable in an alkaline environment since it was applied with lime-based techniques and generally retained its colour over time. This perceived stability has meant that aqueous-based alkaline treatments, often involving high pH values, substantial quantities of liquid, and long contact times, have been used in conservation treatments. However, studies of the kinetics of glass deterioration in the past few years have demonstrated that glass is highly reactive in contact with water and substances with both high and low pH values. Research into smalt deterioration in canvas paintings has shown that smalt is susceptible to elemental leaching and physical changes in contact with water and low pH values; however, there is little specific information about the conservation implications of these findings on the treatment of smalt in wall paintings. This experimental study explores several aspects of how aqueous-based alkaline conservation treatments affect smalt grains in lime-based wall paintings: the influence of painting technique, exposure of the pictorial layer to water before treatment, and pH values and contact times during treatment. Replicas representing three different painting techniques were created, exposed to liquid water or water vapour, and treated with three substances commonly used in conservation according to accepted practices in terms of preparation and application. Chemical and physical changes in the pigment were then analysed using scanning electron microscopy with energy dispersive X-ray spectroscopy. Results confirmed that aqueous-based alkaline substances provoke chemical changes as well as physical deterioration in smalt applied in lime-based techniques evidenced by leaching, corrosion, and cracking in the pigment grains. Crucial factors found to influence the impact of treatments on smalt included the previous exposure to humidity of the pictorial layer, the pH value of the treatment, and extended contact times.

The Icon Last Supper of the Iconostasis of the Russian Memorial Church in Leipzig : Technological Investigation as Basis for the Modelling and the Numerical Simulation of Historical Works of Art in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 84-101 Titre : The Icon Last Supper of the Iconostasis of the Russian Memorial Church in Leipzig : Technological Investigation as Basis for the Modelling and the Numerical Simulation of Historical Works of Art Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 84-101 Note générale : Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1940021 Langues : Anglais (eng) Catégories : Bois -- Identification École de Moscou (peinture d'icônes) Églises -- Collections -- Effets du climat Icônes (art) -- Russie -- 20e siècle -- Conservation et restauration Icônes (art) -- Russie -- Histoire La Dernière cène (épisode biblique) -- Peinture -- Russie -- 20e siècle -- Conservation et restauration Peinture -- Technique -- Identification Peinture sur panneaux -- Conservation et restauration -- Technique Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : In this work, the results of a detailed art technological investigation of the icon Last Supper from the Russian Memorial Church in Leipzig (Germany) are presented. The icons of the iconostasis of the church were made in the workshop of N.S. Emelyanov in Moscow in 1912. The investigation showed that the painter in principle technologically adhered to the traditional way of making icons. The panel is made of boards of lime wood with two crossbars on the reverse. The paint was applied to a chalk ground over a textile layer. The traditional iconographer’s palette was expanded by a few contemporary pigments. The binding agent is classic egg tempera. Originally, the layers of paint had an oil varnish (olifa). The main aim of the project VirtEx, introduced in this paper, is to expand existing methods with numerical material and structural models to be able to predict quantitatively the behaviour of wooden artefacts under loads due to climate changes as well as mechanical loads. The detailed art technological investigation provides the required data for the computer models. The numerical data can then be validated with technologically exact copies and replicas. In the introduction to the article, the current state of research on icon painting techniques is also outlined. [article] The Icon Last Supper of the Iconostasis of the Russian Memorial Church in Leipzig : Technological Investigation as Basis for the Modelling and the Numerical Simulation of Historical Works of Art [texte imprimé] . - 2023 . - P. 84-101. Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1940021 Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 84-101 Catégories : Bois -- Identification École de Moscou (peinture d'icônes) Églises -- Collections -- Effets du climat Icônes (art) -- Russie -- 20e siècle -- Conservation et restauration Icônes (art) -- Russie -- Histoire La Dernière cène (épisode biblique) -- Peinture -- Russie -- 20e siècle -- Conservation et restauration Peinture -- Technique -- Identification Peinture sur panneaux -- Conservation et restauration -- Technique Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : In this work, the results of a detailed art technological investigation of the icon Last Supper from the Russian Memorial Church in Leipzig (Germany) are presented. The icons of the iconostasis of the church were made in the workshop of N.S. Emelyanov in Moscow in 1912. The investigation showed that the painter in principle technologically adhered to the traditional way of making icons. The panel is made of boards of lime wood with two crossbars on the reverse. The paint was applied to a chalk ground over a textile layer. The traditional iconographer’s palette was expanded by a few contemporary pigments. The binding agent is classic egg tempera. Originally, the layers of paint had an oil varnish (olifa). The main aim of the project VirtEx, introduced in this paper, is to expand existing methods with numerical material and structural models to be able to predict quantitatively the behaviour of wooden artefacts under loads due to climate changes as well as mechanical loads. The detailed art technological investigation provides the required data for the computer models. The numerical data can then be validated with technologically exact copies and replicas. In the introduction to the article, the current state of research on icon painting techniques is also outlined.

A History of the Department of Conservation and Technology at the Courtauld Institute of Art in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 102-127 Titre : A History of the Department of Conservation and Technology at the Courtauld Institute of Art Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 102-127 Langues : Anglais (eng) Catégories : Conservation et restauration -- Étude et enseignement (supérieur) -- Londres (G.B.) -- Histoire Conservation et restauration -- Recherche -- Londres (G.B.) Courtauld institute of art (Londres) Interdisciplinarité Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : his article traces the foundation and development of the Department of Conservation and Technology at the Courtauld Institute of Art from its inception as a Technology Department in 1934 to 2020, when the Department merged with Wall Paintings Conservation into a single Conservation Department. The first section describes the development of research and teaching, the interests of the Department’s staff, and collaborations within and outside the Institute, and the financial and technical developments that influenced these changes. The second section discusses the later years, highlighting interdisciplinary research by staff and students with national and international partners and the challenges in the delivery of graduate education in conservation that is practical, technically informed, and interdisciplinary. [article] A History of the Department of Conservation and Technology at the Courtauld Institute of Art [texte imprimé] . - 2023 . - P. 102-127. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 102-127 Catégories : Conservation et restauration -- Étude et enseignement (supérieur) -- Londres (G.B.) -- Histoire Conservation et restauration -- Recherche -- Londres (G.B.) Courtauld institute of art (Londres) Interdisciplinarité Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : his article traces the foundation and development of the Department of Conservation and Technology at the Courtauld Institute of Art from its inception as a Technology Department in 1934 to 2020, when the Department merged with Wall Paintings Conservation into a single Conservation Department. The first section describes the development of research and teaching, the interests of the Department’s staff, and collaborations within and outside the Institute, and the financial and technical developments that influenced these changes. The second section discusses the later years, highlighting interdisciplinary research by staff and students with national and international partners and the challenges in the delivery of graduate education in conservation that is practical, technically informed, and interdisciplinary.

A Note of Caution on the Use of Calcium Nanoparticle Dispersions as Deacidifying Agents in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 128-135 Titre : A Note of Caution on the Use of Calcium Nanoparticle Dispersions as Deacidifying Agents Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 128-135 Langues : Anglais (eng) Catégories : Acidification -- Lutte contre Chaux Isopropanol Nanoparticules Papier -- Conservation et restauration pH -- Mesure Suspensions (chimie) Toile (Tissu) -- Conservation et restauration Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Calcium hydroxide nanoparticles dispersed in ethanol or 2-propanol have been proposed for deacidification treatments of cellulose-based supports and are currently adopted by many paper and paintings conservators. There is however a risk inherent in this treatment: the dispersion would acquire a highly alkaline pH in the presence of moisture, absorbed by the dispersing alcohol solvents or by the cellulose-based support. Consequently, conditions of potential risk would be created for the structural integrity of the cellulosic supports, for some organic film-forming materials and some colouring matter. The simple tests conducted in this study clearly demonstrate that this risk is real, and suggest a cautious attitude in evaluating the suitability of these nano-dispersions for the treatment of some works of art. [article] A Note of Caution on the Use of Calcium Nanoparticle Dispersions as Deacidifying Agents [texte imprimé] . - 2023 . - P. 128-135. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 128-135 Catégories : Acidification -- Lutte contre Chaux Isopropanol Nanoparticules Papier -- Conservation et restauration pH -- Mesure Suspensions (chimie) Toile (Tissu) -- Conservation et restauration Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Calcium hydroxide nanoparticles dispersed in ethanol or 2-propanol have been proposed for deacidification treatments of cellulose-based supports and are currently adopted by many paper and paintings conservators. There is however a risk inherent in this treatment: the dispersion would acquire a highly alkaline pH in the presence of moisture, absorbed by the dispersing alcohol solvents or by the cellulose-based support. Consequently, conditions of potential risk would be created for the structural integrity of the cellulosic supports, for some organic film-forming materials and some colouring matter. The simple tests conducted in this study clearly demonstrate that this risk is real, and suggest a cautious attitude in evaluating the suitability of these nano-dispersions for the treatment of some works of art.

Plastics in Australian Archives : An Industry Survey Regarding Prevalence, Condition, and Preservation Strategies in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 136-150 Titre : Plastics in Australian Archives : An Industry Survey Regarding Prevalence, Condition, and Preservation Strategies Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 136-150 Langues : Anglais (eng) Catégories : Archives -- Conservation et restauration Archives audiovisuelles -- Conservation et restauration Emballages en matières plastiques -- Conservation et restauration Films (pellicules photographiques) -- Conservation et restauration Matières plastiques -- Conservation et restauration Matières plastiques -- Détérioration Objets en matières plastiques -- Conservation et restauration Questionnaires -- Conservation et restauration -- Australie Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : In recent decades, there has been an increased focus on the identification, storage, and treatment of polymer-based plastic materials in cultural heritage collections. While the need for the preservation of plastics in audio-visual collections is well established, there is evidence that unstable plastics are also associated with paper-based collections. This paper investigates whether libraries and archives need to direct preservation resources towards risks posed by plastics in paper-based collections. As there is no available documentation on the types and condition of associated plastics, Australian archives were surveyed using an online questionnaire. Respondents reported associated plastics in over 90% of archives, and ∼50% observed these to be in poor condition. It is concluded that preservation resources that are specific to vulnerable plastic materials in Australian paper-based collections need to be developed and communicated. [article] Plastics in Australian Archives : An Industry Survey Regarding Prevalence, Condition, and Preservation Strategies [texte imprimé] . - 2023 . - P. 136-150. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 136-150 Catégories : Archives -- Conservation et restauration Archives audiovisuelles -- Conservation et restauration Emballages en matières plastiques -- Conservation et restauration Films (pellicules photographiques) -- Conservation et restauration Matières plastiques -- Conservation et restauration Matières plastiques -- Détérioration Objets en matières plastiques -- Conservation et restauration Questionnaires -- Conservation et restauration -- Australie Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : In recent decades, there has been an increased focus on the identification, storage, and treatment of polymer-based plastic materials in cultural heritage collections. While the need for the preservation of plastics in audio-visual collections is well established, there is evidence that unstable plastics are also associated with paper-based collections. This paper investigates whether libraries and archives need to direct preservation resources towards risks posed by plastics in paper-based collections. As there is no available documentation on the types and condition of associated plastics, Australian archives were surveyed using an online questionnaire. Respondents reported associated plastics in over 90% of archives, and ∼50% observed these to be in poor condition. It is concluded that preservation resources that are specific to vulnerable plastic materials in Australian paper-based collections need to be developed and communicated.

The Technical Development of Oil Painted Photographs on Canvas in the United Kingdom Between 1850 and 1890, with a Case Study of Paintings by Georg Koberwein from the Royal Collection in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 151-170 Titre : The Technical Development of Oil Painted Photographs on Canvas in the United Kingdom Between 1850 and 1890, with a Case Study of Paintings by Georg Koberwein from the Royal Collection Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 151-170 Langues : Anglais (eng) Catégories : Halogénures d'argent Imagerie infrarouge Impression sur étoffes -- Grande-Bretagne -- 19e siècle Koberwein, Georg (1820-1876) Peinture -- Reproduction (art) -- 19e siècle Peinture -- Technique -- Histoire Peinture -- Technique -- Identification Peinture à l'huile -- 19e siècle Portraits (peinture) -- 19e siècle Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Painting with oil over photographs on canvas was a widespread practice in the nineteenth century, mainly for the production of portraits and copies of oil paintings. It flourished in a context where both photographers and traditional painters were trying to innovate and adjust to new technological advances and demands of their time. However, despite the popularity of oil-painted photographs, they have not been the subject of substantial technical and historical study, which resulted in most of these photo-paintings not having been properly identified. Therefore, this research looks at the photographic processes used for printing on canvas in the UK between 1850 and 1890, knowledge of which is necessary for the identification of photo-paintings. It also looks at how the practice of the Austrian painter and photographer Georg Koberwein (1820–1876) fits within this context, including the examination of four paintings by the artist in the Royal Collection. [article] The Technical Development of Oil Painted Photographs on Canvas in the United Kingdom Between 1850 and 1890, with a Case Study of Paintings by Georg Koberwein from the Royal Collection [texte imprimé] . - 2023 . - P. 151-170. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 151-170 Catégories : Halogénures d'argent Imagerie infrarouge Impression sur étoffes -- Grande-Bretagne -- 19e siècle Koberwein, Georg (1820-1876) Peinture -- Reproduction (art) -- 19e siècle Peinture -- Technique -- Histoire Peinture -- Technique -- Identification Peinture à l'huile -- 19e siècle Portraits (peinture) -- 19e siècle Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Painting with oil over photographs on canvas was a widespread practice in the nineteenth century, mainly for the production of portraits and copies of oil paintings. It flourished in a context where both photographers and traditional painters were trying to innovate and adjust to new technological advances and demands of their time. However, despite the popularity of oil-painted photographs, they have not been the subject of substantial technical and historical study, which resulted in most of these photo-paintings not having been properly identified. Therefore, this research looks at the photographic processes used for printing on canvas in the UK between 1850 and 1890, knowledge of which is necessary for the identification of photo-paintings. It also looks at how the practice of the Austrian painter and photographer Georg Koberwein (1820–1876) fits within this context, including the examination of four paintings by the artist in the Royal Collection.

Gino Severini in Switzerland: A Technical Study of the Wall Paintings of Saint Nicolas de Myre in Semsales in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P.171-192 Titre : Gino Severini in Switzerland: A Technical Study of the Wall Paintings of Saint Nicolas de Myre in Semsales Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P.171-192 Note générale : Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1975612 Langues : Anglais (eng) Catégories : Diagnostic non invasif Interdisciplinarité dans les sciences Peinture -- Technique -- Identification Peinture à fresque -- Suisse -- 20e siècle Recherche documentaire Severini, Gino (1883-1966) Spectroscopie infrarouge Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Although Gino Severini is recognised as a leading exponent of European avant-garde movements through the first half of the twentieth century, his work as a mural painter is little known. This article reports the technical study of Severini’s wall paintings for the Swiss church of Saint Nicolas de Myre in Semsales (1924–1926), in the framework of a research project coordinated by the University of Applied Sciences and Arts of Southern Switzerland and financed by the Swiss National Science Foundation. Taking an interdisciplinary approach, the project investigates the wall paintings made by the artist in five churches in Switzerland and dating between 1924 and 1947, with the aim of clarifying the artist's mural painting techniques. Following research in the parish archives and in those of the Severini family, the project proceeded in the different churches with in situ examination (diffuse and raking visible light, UV radiation, digital microscopy) supported by non-invasive scientific investigation (technical photography and spectroscopic point analyses) and laboratory invasive analyses on micro-samples. Lastly, the data from all the various sources are collected and interrelated. The artist’s first commission, in 1924 at Semsales, became the longest and most complex, given the artist’s relative lack of mural experience, the extent of surfaces, and variety of techniques adopted. The investigation reveals a long process in which Severini mastered a secco procedures using organic binders, on plasters that had already been applied, flanked by works in the tradition of a fresco painting, enriched with a modern palette of colours. Underlying all this work was a long process of planning, in which the artist associated the differing techniques with variations in style, in an extremely personal language between cubism and classicism. [article] Gino Severini in Switzerland: A Technical Study of the Wall Paintings of Saint Nicolas de Myre in Semsales [texte imprimé] . - 2023 . - P.171-192. Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1975612 Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P.171-192 Catégories : Diagnostic non invasif Interdisciplinarité dans les sciences Peinture -- Technique -- Identification Peinture à fresque -- Suisse -- 20e siècle Recherche documentaire Severini, Gino (1883-1966) Spectroscopie infrarouge Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Although Gino Severini is recognised as a leading exponent of European avant-garde movements through the first half of the twentieth century, his work as a mural painter is little known. This article reports the technical study of Severini’s wall paintings for the Swiss church of Saint Nicolas de Myre in Semsales (1924–1926), in the framework of a research project coordinated by the University of Applied Sciences and Arts of Southern Switzerland and financed by the Swiss National Science Foundation. Taking an interdisciplinary approach, the project investigates the wall paintings made by the artist in five churches in Switzerland and dating between 1924 and 1947, with the aim of clarifying the artist's mural painting techniques. Following research in the parish archives and in those of the Severini family, the project proceeded in the different churches with in situ examination (diffuse and raking visible light, UV radiation, digital microscopy) supported by non-invasive scientific investigation (technical photography and spectroscopic point analyses) and laboratory invasive analyses on micro-samples. Lastly, the data from all the various sources are collected and interrelated. The artist’s first commission, in 1924 at Semsales, became the longest and most complex, given the artist’s relative lack of mural experience, the extent of surfaces, and variety of techniques adopted. The investigation reveals a long process in which Severini mastered a secco procedures using organic binders, on plasters that had already been applied, flanked by works in the tradition of a fresco painting, enriched with a modern palette of colours. Underlying all this work was a long process of planning, in which the artist associated the differing techniques with variations in style, in an extremely personal language between cubism and classicism.

The Technical Analysis and Conservation of John La Farge’s Newport Congregational Church Mural Decorations (1880) in Newport, Rhode Island in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 193-209 Titre : The Technical Analysis and Conservation of John La Farge’s Newport Congregational Church Mural Decorations (1880) in Newport, Rhode Island Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 193-209 Langues : Anglais (eng) Catégories : Chromatographie en phase gazeuse Cire d'abeille -- Dans l'art -- 19e siècle -- Analyse Décoration intérieure -- Matériaux -- 19e siècle -- Analyse Décoration intérieure -- Matériaux -- 19e siècle -- Formules et recettes Détrempe (peinture) -- Analyse Église -- Newport (R.I., États-Unis) -- 19e siècle -- Conservation et restauration Fourier, Spectroscopie infrarouge à transformée de La Farge, John (1835-1910) Microscopie électronique à balayage Peinture et décoration murales -- Newport (R.I., États-Unis) -- 19e siècle -- Conservation et restauration Pigments -- 19e siècle -- Analyse Résines fossiles -- Dans l'art -- 19e siècle -- Analyse Spectrométrie de masse Spectroscopie des rayons X Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : John La Farge (1835–1910) is regarded as an innovator of American interior decoration. His materials and techniques successfully created unique and eye-catching effects across the interior surfaces of monumental buildings. The recent conservation treatment of the Newport Congregational Church in Newport, Rhode Island afforded the opportunity to perform the first comprehensive analysis of one such painted interior. Materials analyses of the media and pigments were carried out using Fourier transform infrared spectroscopy (FTIR), gas chromatography-mass spectrometry (GC-MS), and scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX). In addition, reconstructions of La Farge’s medium were prepared based on a number of available archival paint recipes in order to further inform the analysis and to help develop a better understanding of the materials La Farge likely used for specific passages and colors. The results of the project suggest that La Farge primarily achieved his varied surfaces with two mediums: distemper-bound passages juxtaposed with areas bound in a mixture of beeswax and larch balsam diluted with solvents. Analysis, archival research, and reconstructions were ultimately used to illustrate the vulnerabilities of La Farge’s surfaces but also to reveal the artist’s original intent and technique. [article] The Technical Analysis and Conservation of John La Farge’s Newport Congregational Church Mural Decorations (1880) in Newport, Rhode Island [texte imprimé] . - 2023 . - P. 193-209. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 193-209 Catégories : Chromatographie en phase gazeuse Cire d'abeille -- Dans l'art -- 19e siècle -- Analyse Décoration intérieure -- Matériaux -- 19e siècle -- Analyse Décoration intérieure -- Matériaux -- 19e siècle -- Formules et recettes Détrempe (peinture) -- Analyse Église -- Newport (R.I., États-Unis) -- 19e siècle -- Conservation et restauration Fourier, Spectroscopie infrarouge à transformée de La Farge, John (1835-1910) Microscopie électronique à balayage Peinture et décoration murales -- Newport (R.I., États-Unis) -- 19e siècle -- Conservation et restauration Pigments -- 19e siècle -- Analyse Résines fossiles -- Dans l'art -- 19e siècle -- Analyse Spectrométrie de masse Spectroscopie des rayons X Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : John La Farge (1835–1910) is regarded as an innovator of American interior decoration. His materials and techniques successfully created unique and eye-catching effects across the interior surfaces of monumental buildings. The recent conservation treatment of the Newport Congregational Church in Newport, Rhode Island afforded the opportunity to perform the first comprehensive analysis of one such painted interior. Materials analyses of the media and pigments were carried out using Fourier transform infrared spectroscopy (FTIR), gas chromatography-mass spectrometry (GC-MS), and scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX). In addition, reconstructions of La Farge’s medium were prepared based on a number of available archival paint recipes in order to further inform the analysis and to help develop a better understanding of the materials La Farge likely used for specific passages and colors. The results of the project suggest that La Farge primarily achieved his varied surfaces with two mediums: distemper-bound passages juxtaposed with areas bound in a mixture of beeswax and larch balsam diluted with solvents. Analysis, archival research, and reconstructions were ultimately used to illustrate the vulnerabilities of La Farge’s surfaces but also to reveal the artist’s original intent and technique.

Korean Lacquerware from the Late Joseon Dynasty: Conservation and Analysis of Four Objects at the Asian Art Museum of San Francisco in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 210-227 Titre : Korean Lacquerware from the Late Joseon Dynasty: Conservation and Analysis of Four Objects at the Asian Art Museum of San Francisco Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 210-227 Note générale : Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1967551 Langues : Anglais (eng) Catégories : Chromatographie Laque et laquage -- Identification Laques (arts décoratifs) -- Corée -- 19e siècle -- Conservation et restauration Laques (arts décoratifs) -- Détérioration Matériaux -- Analyse -- Appareils et matériel Microscopie Nacre -- Dans l'art -- Corée -- 19e siècle Peinture -- Corée -- 1392-1910 (Époque des Li) Spectroscopie de fluorescence Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : In-depth studies of the manufacture and composition of late nineteenth century Korean lacquerware from the Joseon dynasty are underrepresented in the English-language literature. This article, the first to offer a comprehensive layer-by-layer analysis of late Joseon dynasty lacquerware, shows that these objects are made using a mixture of traditional lacquerware techniques and materials together with new materials and methods. Through conservation and analysis of four lacquerware objects from the exhibition Mother-of-Pearl Lacquerware from Korea at the Asian Art Museum (29 April–23 October 2016), we identify the materials and techniques used in manufacture and present a new technique to allow conservators to compensate for losses of ray skin inlay. Our discovery that artists used shellac at multiple stages during manufacture calls into question the assumption that shellac was used only as a surface coating. Our findings demonstrate the material and technological complexity of Korean lacquerware from this period and can inform efforts at conservation and analysis of similar objects. [article] Korean Lacquerware from the Late Joseon Dynasty: Conservation and Analysis of Four Objects at the Asian Art Museum of San Francisco [texte imprimé] . - 2023 . - P. 210-227. Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.1967551 Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 210-227 Catégories : Chromatographie Laque et laquage -- Identification Laques (arts décoratifs) -- Corée -- 19e siècle -- Conservation et restauration Laques (arts décoratifs) -- Détérioration Matériaux -- Analyse -- Appareils et matériel Microscopie Nacre -- Dans l'art -- Corée -- 19e siècle Peinture -- Corée -- 1392-1910 (Époque des Li) Spectroscopie de fluorescence Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : In-depth studies of the manufacture and composition of late nineteenth century Korean lacquerware from the Joseon dynasty are underrepresented in the English-language literature. This article, the first to offer a comprehensive layer-by-layer analysis of late Joseon dynasty lacquerware, shows that these objects are made using a mixture of traditional lacquerware techniques and materials together with new materials and methods. Through conservation and analysis of four lacquerware objects from the exhibition Mother-of-Pearl Lacquerware from Korea at the Asian Art Museum (29 April–23 October 2016), we identify the materials and techniques used in manufacture and present a new technique to allow conservators to compensate for losses of ray skin inlay. Our discovery that artists used shellac at multiple stages during manufacture calls into question the assumption that shellac was used only as a surface coating. Our findings demonstrate the material and technological complexity of Korean lacquerware from this period and can inform efforts at conservation and analysis of similar objects.

Conservation of the Shaft #1 Headgear at the Tsumeb Mine, Namibia in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 228-242 Titre : Conservation of the Shaft #1 Headgear at the Tsumeb Mine, Namibia : Corrosion Protection Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 228-242 Note générale : Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.2004007 Langues : Anglais (eng) Catégories : Acier -- Composition chimique Acier de construction -- Corrosion -- Analyse Acier de construction -- Corrosion -- Mesure Anticorrosifs -- Conservation et restauration Assemblages à rivets -- Afrique du Sud-Ouest -- 20e siècle Constructions métalliques -- Afrique du Sud-Ouest -- 20e siècle -- Corrosion Constructions métalliques -- Afrique du Sud-Ouest -- Effets du climat Microscopie électronique à balayage Mines (sites d'extraction) -- Namibie -- Conservation et restauration Patrimoine industriel -- Namibie -- Protection Résines alkydes Spectroscopie des rayons X Stabilisants -- Conservation et restauration Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : The Tsumeb Mine in Namibia represents one of the best-preserved mining sites in the world and is rapidly gaining cross-disciplinary interest among cultural and engineering scientists. Most of the open pit and the shaft mining equipment are still in place, including the ore processing units and the local power plant. The mining area thus deserves recognition as an industrial world heritage site, especially due to the rarity of such locations on the African continent. The Shaft #1 headgear, built in 1924, represents one of the oldest known riveted steel headgears of the Promnitz design worldwide. In contrast to similar steel structures located in the northern hemisphere, it has been exposed to a different rural semi-arid climate since it is located in the Otavi Mountain Land, characterized by semi-annual change of rainy and dry seasons. Parts of the Shaft #1 headgear have remained largely untouched for more than 70 years. Besides its outstanding heritage value, it thus also represents an interesting object for studying the composition of corrosion layers formed on mild steel surfaces when exposed to continental and industrial mining atmospheres. To find a suitable transparent corrosion prevention coating, various on-site coating samples were evaluated after 11 months of outdoor exposure, including Owatrol Oil®, which is based on natural oil and alkyd resin with strong wicking potential. The substance is frequently applied for the conservation of single components but is not yet widely used on large steel structures in the field of industrial heritage conservation. However, it represented the most stable anti-corrosion coating under the local atmospheric conditions in the on-site tests. Thus, the suitability of Owatrol Oil® as a transparent coating for corrosion protection of riveted mild steel structures in such climates was further investigated as a more recent approach for the conservation of large steel structures. Since the protective coatings are exposed to strong UV radiation in the local climate, the addition of a specific UV stabilizer mixture was also tested. For such laboratory tests, two mild steel samples were taken. The first one originated from a diagonal strut of the 1920s and the second one from a handrail mounted in the early 1960s. Using corresponding high-resolution scanning electron microscopy (HR-SEM) and energy-dispersive X-ray spectroscopy (EDX) it was found that the corrosion layers are predominantly composed of lepidocrocite and goethite. A weathering program simulating the specific environmental conditions at Tsumeb in a UV climate chamber was developed and the corrosion resistance of the mild steel surface was subsequently evaluated by potentiodynamic measurements. Such tests proved to be a fast and reliable procedure for ranking the corrosion resistance of the old mild steels. It was found that the long-term corrosion layers already provide significant protection against further corrosion in the simulated environment. However, the study also showed that this can be further improved by the application of the Owatrol Oil® as a protective coating that also seals crevices. The addition of the UV stabilizers, however, led to a significant deterioration in corrosion protection, even in comparison to that of the uncoated long-term corrosion layers on the surface. Regular overcoating seems more advisable for the long-term preservation of the Shaft #1 headgear than modifying the Owatrol Oil® coating with the tested UV-stabilizing additives. [article] Conservation of the Shaft #1 Headgear at the Tsumeb Mine, Namibia : Corrosion Protection [texte imprimé] . - 2023 . - P. 228-242. Article en libre accès (open access). https://www.tandfonline.com/doi/full/10.1080/00393630.2021.2004007 Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 228-242 Catégories : Acier -- Composition chimique Acier de construction -- Corrosion -- Analyse Acier de construction -- Corrosion -- Mesure Anticorrosifs -- Conservation et restauration Assemblages à rivets -- Afrique du Sud-Ouest -- 20e siècle Constructions métalliques -- Afrique du Sud-Ouest -- 20e siècle -- Corrosion Constructions métalliques -- Afrique du Sud-Ouest -- Effets du climat Microscopie électronique à balayage Mines (sites d'extraction) -- Namibie -- Conservation et restauration Patrimoine industriel -- Namibie -- Protection Résines alkydes Spectroscopie des rayons X Stabilisants -- Conservation et restauration Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : The Tsumeb Mine in Namibia represents one of the best-preserved mining sites in the world and is rapidly gaining cross-disciplinary interest among cultural and engineering scientists. Most of the open pit and the shaft mining equipment are still in place, including the ore processing units and the local power plant. The mining area thus deserves recognition as an industrial world heritage site, especially due to the rarity of such locations on the African continent. The Shaft #1 headgear, built in 1924, represents one of the oldest known riveted steel headgears of the Promnitz design worldwide. In contrast to similar steel structures located in the northern hemisphere, it has been exposed to a different rural semi-arid climate since it is located in the Otavi Mountain Land, characterized by semi-annual change of rainy and dry seasons. Parts of the Shaft #1 headgear have remained largely untouched for more than 70 years. Besides its outstanding heritage value, it thus also represents an interesting object for studying the composition of corrosion layers formed on mild steel surfaces when exposed to continental and industrial mining atmospheres. To find a suitable transparent corrosion prevention coating, various on-site coating samples were evaluated after 11 months of outdoor exposure, including Owatrol Oil®, which is based on natural oil and alkyd resin with strong wicking potential. The substance is frequently applied for the conservation of single components but is not yet widely used on large steel structures in the field of industrial heritage conservation. However, it represented the most stable anti-corrosion coating under the local atmospheric conditions in the on-site tests. Thus, the suitability of Owatrol Oil® as a transparent coating for corrosion protection of riveted mild steel structures in such climates was further investigated as a more recent approach for the conservation of large steel structures. Since the protective coatings are exposed to strong UV radiation in the local climate, the addition of a specific UV stabilizer mixture was also tested. For such laboratory tests, two mild steel samples were taken. The first one originated from a diagonal strut of the 1920s and the second one from a handrail mounted in the early 1960s. Using corresponding high-resolution scanning electron microscopy (HR-SEM) and energy-dispersive X-ray spectroscopy (EDX) it was found that the corrosion layers are predominantly composed of lepidocrocite and goethite. A weathering program simulating the specific environmental conditions at Tsumeb in a UV climate chamber was developed and the corrosion resistance of the mild steel surface was subsequently evaluated by potentiodynamic measurements. Such tests proved to be a fast and reliable procedure for ranking the corrosion resistance of the old mild steels. It was found that the long-term corrosion layers already provide significant protection against further corrosion in the simulated environment. However, the study also showed that this can be further improved by the application of the Owatrol Oil® as a protective coating that also seals crevices. The addition of the UV stabilizers, however, led to a significant deterioration in corrosion protection, even in comparison to that of the uncoated long-term corrosion layers on the surface. Regular overcoating seems more advisable for the long-term preservation of the Shaft #1 headgear than modifying the Owatrol Oil® coating with the tested UV-stabilizing additives.

Material Selection for the Hydrophobic Cushion Layer Applied to Earthen Sites in Northwest China in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 243-257 Titre : Material Selection for the Hydrophobic Cushion Layer Applied to Earthen Sites in Northwest China Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 243-257 Langues : Anglais (eng) Catégories : Construction -- Matériaux -- Analyse Constructions -- Effets des agents atmosphériques Constructions en terre -- Chine (nord-ouest) -- Conservation et restauration Constructions en terre -- Chine (nord-ouest) -- Érosion Contraintes (mécanique) Huile de Toung Matériaux -- Couleur -- Altération Polymères vinyliques Sols -- Dégradation Surfaces hydrophobes Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Earthen sites with important historical, cultural, artistic, social, and scientific values have been seriously damaged. Basal erosion, which is caused by soluble salts, water runoff, and sand-driving wind, is an extremely threatening erosion pattern for earthen sites. A cushion layer which has a damp-proofing function and good physical and mechanical properties can effectively decrease basal erosion. The primary aim of this study is to investigate material selection for the hydrophobic cushion layer for earthen sites in northwest China. The results indicate that cooked tung oil and sticky rice liquid, traditionally used in China, cannot meet the fundamental requirements of sufficient hydrophobicity for the cushion layer. Although polyvinyl alcohol (PVA) solution and tung oil exhibit similar properties in terms of soil hydrophobicity, water vapour permeability, water resistance, surface hardness, and colour difference for samples with 0.0-1.0% content, the PVA solution is significantly better than tung oil in unconfined compressive strength, deformation modulus, wave velocity, and viscosity. Therefore, the PVA solution should be preferentially selected as a hydrophobic cushion layer material according to the results of this work. When the mixing method is adopted, 0.6-1.0% PVA content is the best choice. [article] Material Selection for the Hydrophobic Cushion Layer Applied to Earthen Sites in Northwest China [texte imprimé] . - 2023 . - P. 243-257. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 243-257 Catégories : Construction -- Matériaux -- Analyse Constructions -- Effets des agents atmosphériques Constructions en terre -- Chine (nord-ouest) -- Conservation et restauration Constructions en terre -- Chine (nord-ouest) -- Érosion Contraintes (mécanique) Huile de Toung Matériaux -- Couleur -- Altération Polymères vinyliques Sols -- Dégradation Surfaces hydrophobes Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Earthen sites with important historical, cultural, artistic, social, and scientific values have been seriously damaged. Basal erosion, which is caused by soluble salts, water runoff, and sand-driving wind, is an extremely threatening erosion pattern for earthen sites. A cushion layer which has a damp-proofing function and good physical and mechanical properties can effectively decrease basal erosion. The primary aim of this study is to investigate material selection for the hydrophobic cushion layer for earthen sites in northwest China. The results indicate that cooked tung oil and sticky rice liquid, traditionally used in China, cannot meet the fundamental requirements of sufficient hydrophobicity for the cushion layer. Although polyvinyl alcohol (PVA) solution and tung oil exhibit similar properties in terms of soil hydrophobicity, water vapour permeability, water resistance, surface hardness, and colour difference for samples with 0.0-1.0% content, the PVA solution is significantly better than tung oil in unconfined compressive strength, deformation modulus, wave velocity, and viscosity. Therefore, the PVA solution should be preferentially selected as a hydrophobic cushion layer material according to the results of this work. When the mixing method is adopted, 0.6-1.0% PVA content is the best choice.

Knowledge-building in Open-air Rock Art Conservation in Studies in conservation, Vol.68 N°1-2(2023; January-February) (2023-01-01)

Public ISBD [article]  inStudies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 258-282 Titre : Knowledge-building in Open-air Rock Art Conservation : Sharing the History and Experiences with Levantine Rock Art Type de document : texte imprimé Année de publication : 2023 Article en page(s) : P. 258-282 Langues : Anglais (eng) Catégories : Archéologie préventive Art pariétal -- Ibérique, Péninsule -- Méditerranée (région) -- Conservation et restauration Art pariétal -- Ibérique, Péninsule -- Méditerranée (région) -- Effets de l'homme Art pariétal -- Ibérique, Péninsule -- Méditerranée (région) -- Effets du climat Patrimoine culturel -- Conservation et restauration -- Inventaires Patrimoine culturel -- Conservation et restauration -- Pratique Patrimoine mondial culturel et naturel Restaurateurs d'art Mots-clés : Art rupestre levantin Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Levantine rock art sites were discovered in the late nineteenth and early twentieth centuries and, since then, the preservation of this delicate prehistoric heritage has been a considerable challenge, both for the scientific community and for heritage managers. The extreme fragility of this art and the natural bedrock used as the substrate, together with the location in the open air, most of them without physical protection (fence) and dispersed over a large territory, are factors that have contributed to the natural deterioration of most of the sites. This deterioration has also been accelerated by human action over the last century. The international recognition as World Heritage (in Kyoto in 1998) was a turning point in terms of protection, conservation, and management, incentivized by public authorities. As a result of this boost for recognition and research, the inventories of the sites discovered in the different territories are being updated and preventive conservation actions are being carried out, protective barriers are being installed, and the first direct interventions on the painted surfaces are beginning. These practices, which in many cases have improved the stability and visibility of the sites, have not always been supported by agreements reached by interdisciplinary teams and have aroused a degree of controversy. They have sometimes even involved the removal of items of possible archaeological interest (flowstones and layers of oxalate) or the addition of materials that could interfere with archaeological research on past raw materials. This highlights the need to make an inventory of rock shelters where such work has been carried out and to review the treatments and products applied, assessing the possible effects they may have generated on the rock surface and/or the paintings in the 20 years since they were applied. This historical review is intended to offer an updated assessment of the initiatives that have been carried out over a century in Levantine rock art conservation, drawing attention to the need to establish future protocols for action supported by scientific research to achieve a balance between research, conservation, management, and current uses of this ancient heritage. [article] Knowledge-building in Open-air Rock Art Conservation : Sharing the History and Experiences with Levantine Rock Art [texte imprimé] . - 2023 . - P. 258-282. Langues : Anglais (eng) in Studies in conservation > Vol.68 N°1-2(2023; January-February) (2023-01-01) . - P. 258-282 Catégories : Archéologie préventive Art pariétal -- Ibérique, Péninsule -- Méditerranée (région) -- Conservation et restauration Art pariétal -- Ibérique, Péninsule -- Méditerranée (région) -- Effets de l'homme Art pariétal -- Ibérique, Péninsule -- Méditerranée (région) -- Effets du climat Patrimoine culturel -- Conservation et restauration -- Inventaires Patrimoine culturel -- Conservation et restauration -- Pratique Patrimoine mondial culturel et naturel Restaurateurs d'art Mots-clés : Art rupestre levantin Index. décimale : 7.025 Dommages. Conservation. Protection Résumé : Levantine rock art sites were discovered in the late nineteenth and early twentieth centuries and, since then, the preservation of this delicate prehistoric heritage has been a considerable challenge, both for the scientific community and for heritage managers. The extreme fragility of this art and the natural bedrock used as the substrate, together with the location in the open air, most of them without physical protection (fence) and dispersed over a large territory, are factors that have contributed to the natural deterioration of most of the sites. This deterioration has also been accelerated by human action over the last century. The international recognition as World Heritage (in Kyoto in 1998) was a turning point in terms of protection, conservation, and management, incentivized by public authorities. As a result of this boost for recognition and research, the inventories of the sites discovered in the different territories are being updated and preventive conservation actions are being carried out, protective barriers are being installed, and the first direct interventions on the painted surfaces are beginning. These practices, which in many cases have improved the stability and visibility of the sites, have not always been supported by agreements reached by interdisciplinary teams and have aroused a degree of controversy. They have sometimes even involved the removal of items of possible archaeological interest (flowstones and layers of oxalate) or the addition of materials that could interfere with archaeological research on past raw materials. This highlights the need to make an inventory of rock shelters where such work has been carried out and to review the treatments and products applied, assessing the possible effects they may have generated on the rock surface and/or the paintings in the 20 years since they were applied. This historical review is intended to offer an updated assessment of the initiatives that have been carried out over a century in Levantine rock art conservation, drawing attention to the need to establish future protocols for action supported by scientific research to achieve a balance between research, conservation, management, and current uses of this ancient heritage.