ABSTRACT BOOK

45th Annual Meeting

Hyatt Regency Chicago
May 28-June 2, 2017

Treatment 2017:
Innovation in Conservation
and Collection Care
 Leading Trends in Cultural Heritage Imaging

TheScientificPhotographer.com
805-689-8748
[email protected]

The Scientific Photographer, W. Scott Miles

Scott’s interdisciplinary approach to documenting art combines scientific
methodologies with a mature sensitivity to representing the object’s cultural
heritage value for today’s demanding digital world.
Image Production capture and deliver best-in-class technical quality
Workflow Consultation creation and documentation for maximum
digitization efficiency
Design custom imaging and archiving systems and facilities
Manage digital assets processes and training

Images Top: “Parallels” exhibit, Studio Channel Islands Art Center, Camarillo, CA - weavings by Michael F. Rohde, paintings by Richard Bruland. Bottom left: fishbone basket by Gerri McMillin; bottom right:
wood sculpture by Thomas Matsuda. All images © W. Scott Miles, artwork © of the artist.
 American Institute for Conservation
of Historic & Artistic Works

2017 Abstract Book

The American Institute for Conservation of Historic & Artistic Works
(AIC) is the national membership organization supporting conservation
professionals in preserving cultural heritage by establishing and upholding
professional standards, promoting research and publications, providing
educational opportunities, and fostering the exchange of knowledge
among conservators, allied professionals, and the public.

The Foundation of the American Institute for Conservation of Historic

and Artistic Works (FAIC) supports conservation education, research,
and outreach activities that increase understanding of our global cultural
heritage. Its mission is to elevate the vital role of cultural heritage
conservation by applying its expertise to urgent global preservation
initiatives while empowering conservation professionals, motivating
collecting institutions, and engaging the public.

The abstracts are published as received with only minor proofing;

AIC assumes no responsibility for their content. The titles and author
names have been formatted for consistency. Abstracts appear in order
of presentations per session, as of April 30, 2017.

Copyright © 2017 All rights reserved.

No part of this publication may be reproduced or used in any form
or by any means without the written permission of the American
Institute for Conservation of Historic & Artistic Works.

American Institute for Conservation of Historic & Artistic Works

1156 15th Street NW, Suite 320, Washington, DC 20005-1714
202-452-9545 | fax: 202-452-9328
[email protected] | www.conservation-us.org
 45th ANNUAL MEETING

Treatment 2017: Innovation in Conservation and Collection Care

May 28 – June 2, 2017 at the Hyatt Regency Chicago in Chicago, Illinois

Whether item or collection-level, preventive or interventive, treatment remains at the heart of what conservators do in order to preserve
cultural heritage collections. The design and implementation of an ethical and sound conservation treatment, even the ultimate decision
of no treatment at all, begin before its commencement and the consequences continue well beyond its completion. Papers were solicited
that explore various facets of conservation treatments and collection care programs intended to prolong the lifetime of cultural property.
Topics include, but are not limited to, a reconsideration of historic procedures no longer in practice, cutting edge technologies employed
in treatments, effective preventive conservation or collection care steps that reduce the necessity or extent of interventive treatments, the
incorporation of sustainability into conservation treatments, or innovations in treatment design, execution, and documentation.

AIC BOARD OF DIRECTORS Private Practice

President: Pamela Hatchfield Scott Haskins, Susan Maltby
Vice President: Margaret Holben Ellis
Research & Technical Studies
Secretary: Sue Murphy
Kristen deGhetaldi*, Corina Rogge, Karen Trentelman
Treasurer: Sarah Barack
Director, Committees & Task Forces:Thomas J. Braun Sustainability
Director, Communications: Brenda Bernier Tina Gessler, Christian Hernandez, Christine Romano, Melissa
Director, Professional Education: Stephanie M. Lussier Tedone*
Director, Specialty Groups: Deborah Lee Trupin
Textiles
Kathy Francis, Laura Mina*, Elizabeth Schaeffer
2017 PROGRAM COMMITTEES
Wooden Artifacts
* Program Chair
Genevieve Bieniosek*, Tad Fallon, Anna Kosters
GENERAL SESSION
Margaret Holben Ellis*, Suzanne Davis, Arlen Heginbotham,
Corina Rogge, Kerith Koss Schrager, Patricia Silence POSTER EDITORS
Crystal Sanchez, Desirae Peters, Laura McCann

SPECIALTY & INTEREST SESSIONS

Architecture
Lacey Bubnash, Andrew Fearon*, Leslie Friedman AIC & FAIC STAFF
Book and Paper Executive Director: Eryl P. Wentworth
Whitney Baker, Victoria Binder*, Debra Cuoco, Laura Finance Manager: Linda Budhinata
Neufeld, Mary Oey CAP Coordinator: Tiffani Emig
Development Associate: Renae Erichsen-Teal
Collection Care CAP Assistant: Elizabeth Handwerk Kurt
Gretchen Guidess, Rebecca Kaczkowski, Karen Pavelka* Communications Associate: Carmina Lamare-Bertrand
Electronic Media Membership & Marketing Associate: Katelin Lee
Patricia Falcao, Lauren Sorensen* Communications & Membership Director: Bonnie Naugle
Institutional Advancement Director: Eric Pourchot
Objects Education Associate: Sarah Saetren
Laura Lipcsei, Ariel O’Connor, Tony Sigel* Meetings & Advocacy Director: Ruth Seyler
Paintings Emergency Programs Coordinator: Jessica Unger
Kelly Keegan*, Noelle Ocon, Desirae Peters Membership Coordinator: Ryan Winfield

Photographic Materials
Saori Kawasumi Lewis, Sylvie Pénichon, Tram Vo*

Abstract book compiled and designed by Bonnie Naugle

2017 AIC Annual Meeting Abstracts

2
 TABLE OF CONTENTS

45TH Annual Meeting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

General Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
General Opening Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Discussion Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Concurrent General Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Treatment: Going Big . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Beyond Treatment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Treatment: Don’t go it alone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Unique Objects, Unique Treatment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Book & Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Art on Paper Discussion Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Library Collections Conservation Discussion Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Book & Paper Wiki Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Collection Care . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Electronic Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Paintings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Photographic Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Research & Technical Studies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Sustainability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Textiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Wooden Artifacts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Joint Sessions:
Architecture + Wooden Artifacts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Joint Sessions:
Book & Paper + Research & Technical Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Joint Sessions:
Paintings + Research & Technical Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Posters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

2017 AIC Annual Meeting Abstracts

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 GENERAL SESSIONS

Opening General Session coating to fabric which also serves to shrink the material over a
rigid structure. A doped surface is traditionally made of multiple
coats of clear cellulosic resins with light blocking layers and final
decorative finishes over a cotton or linen fabric.
Revision & Reflection: The conservation/ Because of the inherent chemical instability of the cellulosic
restoration project of the Ghent Altarpiece resins and the requirement for scheduled inspections of the struc-
tures beneath, doped fabric materials have long been considered
Bart Devolder
to be dispensable and expected to be replaced during routine
In October 2012, the Royal Institute for Cultural Heritage began operational maintenance or during a restoration. However, when
a five-year conservation/restoration campaign for the Ghent viewed as a multi-media artifact with inherent preservation chal-
Altarpiece painted by the Van Eyck brothers (1432). After an lenges similar to those in other realms of conservation, a new
extensive preliminary study in 2010 it was decided that the main approach can be devised. Comparing the similarities and recog-
focus of the project would be a conservation treatment carried nizing the differences between doped fabric structures and canvas
out in three phases rather than a comprehensive restoration. This paintings inspired a new treatment methodology for preserving
treatment would take place in front of the public in the Museum historic aircraft fabric.
of Fine Arts Ghent (Belgium) where an exhibition gallery was This concept represents a major departure from the long-
redesigned as a conservation studio. With the first phase finished standing restoration traditions at NASM. A new approach to
(two years behind the initial schedule), we can look back on how preserving doped fabric structures will be illustrated through the
this conservation treatment took a completely different turn after treatment of the control surfaces on a World War Two Martin B-26
the varnish removal. Marauder, named “Flak Bait.” The case study will detail materials
The paper will focus on how, although a comprehensive analysis, decision-making processes, encountered problems and
pre-study was conducted, unforeseen findings resulted in a recon- solutions, loss compensation and varnish selection. It will also
sideration of the scope of the project. What are the implications emphasize how the benefits of cross-disciplinary collaboration,
when one changes course mid treatment? How do you challenge coupled with practical research has influenced these innovative
decisions that were made well before the conservation team was and adaptive treatments and altered established methodologies.
assembled? How to neutrally address significant financial and
timing consequences to all the different stakeholders, when the
conservators are challenged on what the outcome of the revised Preventive Conservation in the Renovation of the
treatment should be? What is the impact of these changes for the
future two phases of the project?
Harvard Art Museums: Before, during, and ever
These thorny issues will be addressed by the author’s personal after
experiences in these unique circumstances as the projects on-site Angela Chang, Penley Knipe, Kate Smith
coordinator for the past four years. This case study could be of
particular interest to the American conservation community, as The Harvard Art Museums reopened in 2014 after a six-year reno-
strict oversight from multiple entities (both religious and political) vation and closure. Conservation involvement in the planning of
is a more common occurrence in Europe. this building project influenced all art-related spaces, processes,
and procedures. This talk reflects on the question: what is the role
of conservation in a museum renovation project? The success of
conservation initiatives relies on effective collaboration, predomi-
When an Airplane Acts Like a Painting: Applying nantly with professionals outside our field. We must cultivate
established conservation methodologies to trusting relationships with museum colleagues to get approval,
ephemeral aircraft materials support, and funding.
This talk will share three projects from the Harvard Art
Lauren Horelick, Malcolm Collum
Museums’ renovation that demonstrate preventive conservation
Large scale, functional material culture has long suffered the onus practiced through communication and collaboration: a large
of being considered somewhat exempt from established steward- scale materials testing program, the integration of light sensitive
ship practices. This is primarily the result of the impracticalities materials throughout new galleries, and a program of gallery art
and fiscal limitations of caring for macro artifacts but also the incident tracking and response. Each program demonstrates the
deference that most conservators have paid to traditional resto- importance and power of collaboration in preventive conserva-
ration practices. This paper will illustrate one example of how a tion. A materials testing program was devised for the design and
conservator’s understanding of materials and modes of deteriora- construction of two consecutive major building projects, totaling
tion has altered long-established practices for treating ephemeral 77,000 square feet of art spaces. Conservators, conservation
materials. scientists, and administrators played integral roles in the design
Doped fabric is not often found in the fine art world, but and planning process. They devised a materials testing program,
is ubiquitous to the collection at the National Air and Space primarily using the Oddy test, to review all construction materials
Museum (NASM). Doping is the practice of applying a waterproof proposed first for an interim facility and then for the renovated the

2017 AIC Annual Meeting Abstracts

4
 GENERAL SESSIONS

Harvard Art Museums. The program sought to minimize harmful treatment which would have deviated from standard practice was
off-gassing of construction materials by making the best choices recently considered. The proposed treatment for the painting was
of materials where possible, understanding that concessions revised after the artist was brought into the discussion. A rela-
would be necessary. Over eight years of testing, 900+ materials tionship of trust between SFMOMA, Kiefer and his studio was
were evaluated for use. Lessons learned will be shared about this created once Kiefer became involved with the project.
ongoing program. SFMOMA’s engagement with artists can provide guidance for
A new curatorial directive to integrate light sensitive materials the care of artworks and serves as a starting point for successful
throughout the museum’s galleries (43,000 square feet) prompted museum activities involving the Museum’s Artist Initiative, Cura-
the need for clear guidelines on exhibiting, lending, and teaching torial, Collections and Education programs.
with light sensitive materials. While conservators initially We now have a much better understanding of “what Anselm
perceived this charge as being in tension with the light-focused Kiefer would do” when concerns and questions arise regarding
architectural design by Renzo Piano, they worked closely with the conservation and exhibition of his works. As we continue our
architects and lighting engineers to understand the predicted dialog with the Kiefer studio, we plan to carry out more in-depth
effects of natural light in a building with 9500+ square feet of study, research and treatment of the SFMOMA/Fisher Kiefer
glass and to plan for optimal control of natural light with a system Collection.
of 450+ operable and fixed shades. Conservators then developed
and implemented a light monitoring program that measured light
levels at 40 points throughout a full year to verify the predicted Henri Matisse: The cut-outs
light effects, prescribe shade programming and focus on problem-
atic areas. Karl Buchberg
In response to concerns about visitors’ frequent contact with In 2014, The Museum of Modern Art opened a landmark exhi-
art on view in the museum’s intimate gallery spaces, a simple, bition centered on the final chapter of Matisse’s long career, the
collaborative program devised by Conservation, Collections cut-outs. The largest Matisse cut-out exhibition ever mounted,
Management, Security, and IT tracks and responds to gallery art it had as its central work one of MoMA’s most beloved attrac-
incidents. With their standard duties, the museum’s 46 security tions, The Swimming Pool. This large, room-sized cut-out was
attendants record minor and major incidents on “Art Touch not only the centerpiece of the exhibition, its conservation was
Cards.” The notes are compiled and the aggregate data is analyzed the genesis of the show. This exhibition was the first time that a
by a cross-departmental team, which identifies and diagnoses conservator at MoMA, Karl Buchberg, was also a curator of an
the objects suffering the most frequent incidents. The museum exhibition; sharing this title with Jodi Hauptman, Senior Curator
has made effective changes in response to the analyses, and the of Drawings and Prints.
impact has been measurable. In addition to reduced incidents, the The Swimming Pool was created in 1952 in the dining room of
program has improved upkeep of non-art conditions in galleries, Matisse’s Cimiez-Nice apartment. Matisse’s assistants would paint
and, surprisingly, staff engagement. sheets of paper with Linel gouache which were then dried and
stored. When Matisse wanted a particular color, a sheet would
be brought to him which he would then cut into a desired shape.
What Would Anselm Do? Revisiting the A studio assistant would then take the cut shape and pin it on
treatment of Osiris and Isis the studio wall according to Matisse’s instructions. The Swimming
Pool consisted solely of ultramarine blue painted paper shapes on
Paula De Cristofaro a frieze of white Canson paper pinned to the burlap lined walls
The San Francisco Museum of Modern Art acquired Osiris and of the dining room. After his death in 1954 it was permanently
Isis, an important mid-career painting by Anselm Kiefer, in 1987. mounted by the Parisian firm Lefebvre-Foinet. The work was
SFMOMA recently re-opened after a major expansion to accom- divided into nine panels; the blue shapes were adhered to the
modate the Fisher Family Collection of 20th century art, which white paper frieze which was then adhered to new burlap, chosen
includes masterworks by Anselm Kiefer. by Matisse’s widow as it was the only fabric faithful to the original
Anselm Kiefer’s oeuvre examines history and culture by conception.
means of incorporating potentially unstable and problematic When MoMA acquired the work in 1975, the white paper
materials (including straw, lead, found objects and industrial was stained, the ultramarine blue shapes were unevenly decolor-
media). Kiefer’s works are often oversized, extremely heavy, fragile ized from the contact with the acidic burlap and the burlap itself
and vulnerable; they challenge the norms of stewardship. Osiris severely darkened. My predecessor, Antoinette King, removed the
and Isis exemplifies Kiefer’s use of mixed techniques and found staining in the white paper during a lengthy treatment. The blue
objects, which are included in a composition of massive size. The cut-outs and the burlap were not treated. In 2009, I decided to
painting has required treatment intervention at regular intervals carry out a treatment with three goals: to replace the discolored
since its acquisition. burlap to return the work to its original color balance, to increase
This presentation will trace the trajectory of care Osiris and Isis the height of the new panels to re-create the original dimensions
has received over several decades. Treatments of the painting which of the work and to re-install the work in a room that re-created
did not age well over time will be discussed. A cross-disciplinary the original floor plan. Although the white paper frieze was not

General Sessions
5
 GENERAL SESSIONS

original – it had been newly added during the first mounting – electrochemical cleaning, laser cleaning, multi-spectral imaging,
I chose not to replace it. It was approximately the same age as nano-technology materials, plasma treatment, synchrotron
the blue cut shapes and had a similar patina. The most radical radiation, and virtual retouching. We all look with wide-eyed
decision was not to re-adhere the white frieze and blue cut shapes wonder at what all of these techniques supposedly can do and how
on new fabric, but instead to pin them on the newly fabricated they can help in a rapidly changing conservation world. However,
panels. This re-created the original pinned aspect of the work and many of these techniques are quite expensive and/or out of reach
minimized any further acid induced damage. for most private conservators and smaller museums, let alone that
This paper aims to describe the treatment choices for this work we understand how they work.
and illustrate how these choices came to inform the cut-out exhi- Do we really need all of this high-tech innovation and what
bition as a whole, highlighting the relationship and collaboration for? Is it all good, ethically and/or technically? What is wrong with
between conservator and curator. low-tech innovation, or sticking with traditional ways of analysis
and treatment, which have long been successful? Do we really
need a better high-tech mousetrap? These questions are part of a
Discussion Session classic debate which still rages between tradition and innovation,
practice and academics, low and high-tech, or however one wants
to characterize it.
Socratic Dialogue: High-tech innovation in Although there is no clear-cut answer to the questions posed,
conservation and collection care - do we need a an understanding of the issues and essence behind the questions
better high-tech mousetrap? and debate would certainly help us to determine what advances
in analysis and treatment we need, and where we want to go
Speakers: Dr. W. (Bill) Wei with innovation. A so-called Socratic dialogue is an ideal way
Digitalization, advanced analysis techniques, new treatments for doing this. In the continuing series of such dialogues at AIC
and new materials, collection mobility, and globalization. The annual meetings, a Socratic dialogue will be conducted looking
conservation world is dealing with rapid developments, which at high-tech innovation in conservation and collection care. A
are affecting how conservation decisions are made and how treat- Socratic dialogue is a structured form of dialogue in which all
ments are being carried out. Conservation has certainly come participants actively contribute. The purpose of the dialogue is not
a long way in the last decades thanks to advances in treatment to solve the question at hand, that is, do we need all of the high-tech
techniques developed in private and museum practice, and to innovation that is being offered, but to investigate each other’s
new developments in conservation science. These advances and experience, opinions and concerns on high-tech innovation, and
innovations will be discussed at the 2017 AIC annual meeting, its value in conservation and collection care. The Socratic method
with its theme “Treatment 2017: Innovation in Conservation and provides a safe, open environment for participants to investigate
Collection Care.” what the essence behind these issues is, and to understand their
Innovation is fine, but most conferences and the literature own points of view as well as those of others. It provides a solid
are seeing ever increasing numbers of presentations of the latest foundation for thinking about how we deal with new develop-
in so-called high-tech developments and innovations such as ments in conservation and collection care, and making decisions
atomic force microscopy, computer simulations, cryo-treatments, on their use.

2017 AIC Annual Meeting Abstracts

6
 CONCURRENT GENERAL SESSIONS

Treatment: Going Big When What Went Up Must Come Down: Triage
treatment and disassembly of two 15th century
Chinese mud plaster murals
Go Big or Go Home: Broader considerations Emily Brown, Madeleine Neiman, Lynn Grant
in the treatment of oversize objects at the Art
In the spring of 2016, two monumental, mud plaster murals (~20ft.
Institute of Chicago
x 30ft.) at the University of Pennsylvania Museum of Anthropology
Rachel C. Sabino and Archaeology underwent stabilization treatment and deinstal-
lation. During the early twentieth century, each mural had been
Whether in the private sector or within institutions, conser-
cut away from the walls of a Buddhist temple in Central China
vators seem to be under increasingly urgent and constant
and removed to art dealer C.T. Loo’s Paris atelier for mounting and
pressure. Exhibition schedules and treatment deadlines are
restoration. The panels were subsequently purchased by the Penn
drawing ever tighter with ever-fewer resources—both material
Museum and installed in the Rotunda gallery in the late 1920’s.
and personnel—allocated to satisfy these demands. At times,
After approximately 90 years on view, the murals displayed a range
certainly, realizing even a minimum level of treatment feels like
of condition issues including friable and powdering substrate,
an impossibility. Over the past several years, various initiatives
bulging and delaminating surface, as well as a heavy layer of dirt and
at the Art Institute of Chicago have necessitated major re-treat-
grime over a thick, white shellac coating.
ments of several oversize works of art: a pair of 17th-century
Prompted by the impending demolition and construction at
Islamic tile spandrels; a Renaissance terracotta altarpiece; and
a site immediately adjacent to the museum, conservators were
a Classical Greek marble funerary monument. The treatments
allotted 6 months to plan and complete this daunting project. The
themselves were of considerable interest, requiring investigation
goal of this paper is two-fold: First, to present the dynamic inter-
into new materials and techniques; exploiting trusted materials
and intra-disciplinary collaboration by Penn Museum conserva-
from the conservator’s arsenal but utilizing them in novel
tors to design the treatment methodology, including collaboration
ways; and demanding ample bench skills. These aspects of each
across specialties (objects, painted surfaces, and architecture) as
treatment will be discussed.
well as with allied museum professionals (registrars, collections
However, the more salient theme that the three campaigns
managers, and riggers); and second, to present as a case study
will highlight is the degree to which the treatment design for each
the demanding, in-situ, triage treatment and dismantling of
object went beyond the strictures mandated by the profession (i.e.,
two monumental, unique museum artifacts. Specifically, we will
retreatability, minimal intervention, etc.) and incorporated the
describe the treatment process of gel cleaning, consolidation,
broader exigencies of numerous staff members outside of conser-
and facing used to stabilize the surface, as well as the rigging
vation. For instance, a specific goal of each treatment was to ensure
and packing methodology employed to prepare the panels for
that installation be as straightforward and expedient as possible. A
movement to offsite storage.
further goal was to reduce the object’s footprint within available
storage space in the event of its being taken off view. Not least, the
treatment design incorporated sound shortcuts to accommodate
the project deadlines as closely as possible. These and other goals Puvis de Chavannes’ Philosophy: Condition
will be enumerated in greater length to reinforce the notion that issues and strategies for the removal of a severely
it behooves conservators to think beyond the bench and tailor detached mural, its conservation treatment and
treatment designs to dovetail neatly with the needs of clients or remounting
the institution as a whole.
In the face of dwindling budgets and burgeoning administra- Gianfranco Pocobene, Ian Hodkinson
tive hurdles it makes increasing sense to function as collaborative
This paper describes condition issues and strategies for the
partners with a full understanding of how conservation fits into
treatment of Puvis de Chavannes’ Philosophy mural, one of nine
the bigger picture. At the same time, the three objects serve as
canvasses at the Boston Public Library. Painted by the artist in
good case studies for discussion as to the extent of treatment
France on linen canvas, the 14’ x 7’ mural was shipped to America
and when it is critical to insist on wholesale re-treatment. The
and marouflaged to the plaster wall with a lead white in linseed
reservoir of goodwill that builds from a track record of problem
oil adhesive in 1896. For more than half a century, intermittent
solving, not just for the benefit of the objects in our care, but
moisture infiltration had caused gradual partial separation of the
on behalf of the many other members of staff whose work may
canvas support from the plaster. In 2015, however, it was discov-
appear tangential but is nonetheless allied with our own, makes
ered that 80% of the canvas had completely detached. Further-
it easier to hold the line and push for those treatments which
more, failure of a large section of plaster and metal lath support
might not otherwise have full support or the luxury of undivided
near the top of the mural was exerting outward pressure on the
attention.
already loose canvas causing it to sag downwards, forming large
undulations and a severe bulging crease. Left unchecked, collapse
of the plaster would have ultimately led to catastrophic damage
including tearing of the canvas and extensive paint loss.

General Session - Four Tracks

7
 CONCURRENT GENERAL SESSIONS

Any potential structural intervention to treat the mural was presentations at the November 2015 NATCC meeting in New
complicated by a number of factors. The mural is set within York, this one will focus on the perspective of a fine arts museum
a marble faced niche making access to the edges of the canvas acquiring, treating, displaying, storing, and potentially lending a
difficult. During the initial examination, attempts to detach the rare royal Persian Rasht tent.
portions of the canvas still attached to the plaster using a micro- The tent arrived in Cleveland in March 2015 and was displayed
spatula revealed that both the paint and canvas are extremely in the Arlene M. and Arthur S. Holden Textile Gallery beginning
brittle. The deteriorated condition of the plaster and other in July 2015. During that interval, a mount was fabricated that
factors precluded the possibility of re-adhering the loose canvas allowed the front half of the roof to cantilever, offered visitors
to the wall. Although several structural treatment options were an uninterrupted sightline, and encouraged them to enter the
considered, it became evident that removal of the mural from its tent. The mount had to balance original intent and conservation
niche was necessary. It was recognized from the outset that the concerns – the tent roof supporting the wall panels as opposed
procedures required to perform such work would be complex, to the mount supporting the wall panels. In addition, a base was
challenging and not without considerable risk. The brittleness of fabricated, lighting designed, and conservation treatment under-
paint, ground, canvas and lead white adhesive excluded the possi- taken. The collaboration between conservator, mount maker,
bility of detaching the mural at the interface between the canvas cabinet maker, lighting designer, exhibition designer, and curator
and the wall. Moreover, the strong bond between the undetached that resulted in this successful installation will be detailed. The tent
canvas and plaster along the left and bottom of the mural dictated was deinstalled in August 2016. A storage container for the tent
that a partial stacco a masello process be employed, all the while, roof and modular mount components was fabricated to ensure
keeping the canvas intact and minimizing paint loss. safe storage of this very large object. Additional treatment of the
The mural was first faced with Kozo tissue adhered with UVLS tent roof will be undertaken in winter 2017, and the modern
artist’s varnish emulsified with a small amount of water followed navy blue wool lining on the wall panels replaced with custom
with linen canvas adhered with the same adhesive fortified with woven and dyed plain-weave cotton to match the tent roof.
BEVA Gel. The plaster was then severed from the bottom up while These activities also will be discussed. During the brief window
lightweight rigid support panels were progressively attached to for treatment in June 2015, several discoveries were made about
the face of the mural and locked together to form a continuous the tent, which informed subsequent decisions. These discoveries
solid support. Once it was completely detached, the mural was also will be shared. Finally, questions remain about re-creating an
lowered face down and transported to a work space in the Library. interior valance. No design evidence exists for this tent element,
There, removal of plaster from the reverse of the canvas was carried raising ethical questions as to how and if that element should be
out followed by removal of facings, lining of the mural onto an reconstructed.
aluminum honeycomb panel and reinstallation in its niche. The
discussion will focus not only on the successes of the treatment but
also underline the challenges and problems encountered during the Resurrecting della Robbia’s Resurrection:
project and aspects of the process that warrant improvement.
Challenges in the conservation of a monumental
Renaissance relief
Textiles as Architecture: Raising a royal Persian Sara Levin, Lisa Bruno, Nicholas Pedemonti
tent The Resurrection (c. 1520-24) by Giovanni della Robbia, a large-
Robin Hanson scale glazed terracotta relief, was on view at the Brooklyn Museum
since the late 19th century. However, contemporary renovations of
In late 2014, the Cleveland Museum of Art acquired a royal Persian the galleries and aging restorations relegated the artwork to storage
tent that can be dated to the second quarter of the 19th century, as in recent decades. With its inclusion in the August 2016 show
it is signed with the name of Qajar ruler Muhammed Shah (reigned “Della Robbia: Sculpting with Color in Renaissance Florence”
1834-1848). Measuring roughly 4.1 m (13-1/2 feet) in diameter at the MFA, Boston, the object was slated for its first full-scale
and 3.5 m (11-1/2 feet) in height, the entire roof including exterior treatment since being acquired in 1899. Examination, disas-
valance is extant, as are seven of 14 wall panels. Missing are seven sembly, cleaning, reassembly, inpainting and remounting of all 46
wall panels, the top “register” of the seven extant wall panels, an sections of the relief was completed in just ten months, involving
interior valance, and the central pole and struts. Only the tent the participation of 12 objects conservators, the Museum’s mount
interior would have been decorated, in this example entirely of maker and art handlers.
Rasht work, a technique executed in heavily felted plain-weave wool This paper will discuss treatment approach, challenges posed
and named after the town on the Caspian Sea where the technique by the extant mounting materials, and the development of a
originated. The exterior of the roof and wall panels originally would new mounting system. It will also highlight observations about
have been undecorated, plain-weave red cotton. Reflecting the Giovanni’s workshop techniques, the use of TL dating and
theme of AIC’s 45th Annual Meeting – innovation in conservation multi-spectral imaging to learn more about the materials present.
treatment and collections care – this presentation will address that Working as a team under a tight deadline is a challenge that many
continuum as it relates to a large, three-dimensional textile that conservators face. The large scale of the project forced conserva-
is as much architecture as it is textile. Complementing two tent tors to be innovative in their approach and design the treatment

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 CONCURRENT GENERAL SESSIONS

to maintain consistency while remaining flexible when unique conservators alike. The flat matte paint, which Calder thinned
challenges arose. Many treatment decisions confronted compro- with turpentine and applied without a primer, is easily damaged.
mising questions such as: which 19th century restoration materials Alexander Calder did not leave specific instructions for conserva-
should be kept as part of the object, saved separately as samples, or tors as to how best to care for his kinetic sculptures. Correspon-
discarded? How should the historic backboard be treated if it is still dence exists where the artist describes repainting but what should
to function as an adequate support? When is it appropriate to treat be done when this approach is no longer viable, since repeated
one section of the object uniquely from the others? Addressing overpainting will eventually cause excessive paint build-up
these concerns required thorough understanding of the materials and a compromised appearance. In the past, several treatment
and history of the object drawing from comprehensive examina- approaches have been adopted to solve this dilemma: traditional
tion and analysis. retouching, toning with a colored reversible layer, as well as
Discoveries about original workshop techniques are also repainting, after complete removal of all existing paint layers --
important as much of the literature related to the della Robbia including Calder’s original brushed application. This paper will
workshop focuses on the earlier generations, Luca and Andrea. address the Guggenheim Museum’s research, thought process and
Observations include the use of two different types of clay; original conservation treatment of Red Lily Pads. Research discussed will
repairs made with glaze visible on the verso; sketches incised in include national and international comparative site visits, analysis
the clay; and evidence of hand-modeling and coiling techniques. of paint layers and analysis of Ronan Japan Color reds, the paint
Close examination also revealed a wide extent of gilding and cold- most commonly used by the artist. The paper will also include
painting, much of which has been lost over time. Multi-spectral an overview of treatment method, which utilized a custom
imaging illuminated subtle patterns on the two main figures of retouching system formulated by Golden Artist Colors, Inc.
the relief—Christ and the patron, Niccolò Antinori not visible in
normal light. Due to the in-depth nature of intervention required
and the many hands at work, organizing the treatment required
customizing the system of documentation. Consistent protocols
Beyond Treatment
were developed to address past restorations, establish conservation
materials, degree of intervention, and aesthetic compensation.
The new mounting system retrofitted the wood backboard that What’s so Ethical About Doing Nothing?
has been with the object since it arrived in the United States,
Jonathan Ashley-Smith
with high density form-fitting inserts that support the terracotta
elements from the back. Remounting was one of the most difficult, This conference is a celebration of the importance of treatment
innovative and challenging processes of the treatment, and as such and of the necessary intellectual preparation for action. In the
strategies used to find the correct spacing and order of installation description of the conference theme the “no treatment at all”
of pieces may be helpful for conservators working on similar types option is referred to as “the ultimate decision.” Yet there seems
of objects in the future. to be a growing trend within the conservation profession for “no
treatment at all” to be considered the one and only ethical choice.
There are several reasons for this trend. One of the causes
Gilding the Lily? The conservation treatment of concerns social and academic attitudes to working with the hands.
The academic professionalization of conservation can aggravate
Alexander Calder’s Red Lily Pads the prejudice that intellectual skills are more desirable and laudable
Nathan Otterson, Tracey Bashkoff, Carol Stringari, John Vitagliano than manual dexterity. Most conservation treatments demand
both types of skill in equal measure. Yet if time is not allowed in
Red Lily Pads (1956) is a signature work in the Solomon R. school and college for the development of manual ability, practical
Guggenheim Museum Collection purchased from the Perls intervention tasks will not be carried out with the necessary speed
Gallery during the exhibit “Alexander Calder: A Retrospective and skill. This may lead to mistakes and irreversible damage to
Exhibition,” which opened at the museum in late 1964. Calder artifacts. This leads to a process of ethical drift where certain treat-
installed the work directly above the oval tiered fountain in the ments are deemed unethical rather than just difficult, downright
spiraling rotunda of the Frank Lloyd Wright-designed building, wrong rather than requiring skill and experience.
initially so low that visitors had to push the mobile out of the way College conservation courses fill their curricula with more and
to precede up the first ramp and view the rest of the show. The more non-practical content. Specialist conservators in large insti-
work was rehung at a reasonable height shortly after the opening tutions fill their time with administration and with short-term
but the location still proved problematic. Over the fountain, the activities such as loans, ostensibly to reduce immediate risk. They
paint was repeatedly damaged by coins, which visitors meant to engage with storage projects with long-term aims of preservation
toss into the fountain. In 2013, the Conservation Department of and risk reduction. Conservators in smaller museums cannot hope
the Guggenheim Museum received a generous grant from Friends to specialize. This leads to the development of members of the
of Heritage Preservation and the John and Mary Shirley Founda- conservation profession who have not learned, and do not desire,
tion to conserve this important work. to carry out interventive treatments.
Treating damaged paint on Alexander Calder’s indoor Arguments that preventive conservation is more economical
mobiles has long been a topic discussed among curators and art

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and less risky than intervention seem to generate unwarranted determine what people actually see in a work of art before and
attitudes of moral superiority that can fuel the ethical drift. This after treatment. In an initial set of tests, subjects with widely
drift means that treatment options that were considered perfectly different backgrounds were asked to look at two works in an exhi-
allowable become at first questionable and then unethical. This is bition setting, a virtually treated portrait by Van Gogh, “The Old
excused as the necessary progress of a developing profession. In Arlésienne,” and an untreated mixed-media work by the contem-
extreme cases the supremacy of the “no treatment at all” policy porary Dutch artist, Ger van Elk, “Adieu,” considered to be total
could be construed as “depraved indifference” to the aesthetic and loss. Further, subjects were asked to look at several solutions for
educational potential of individual objects. the active or virtual retouching of a monochrome painting by the
There is a concurrent trend in the wording of codes of conduct Dutch artist, Jan Roeland. For the Van Gogh and Roeland works,
and ethics that no longer include explicit guidance about practical they were asked to evaluate the treatments. For the Van Elk work,
intervention. The limits of intervention are blurred, yet conserva- they were simply asked to describe what they saw. In all three
tors continue to act as though they were following unequivocal and cases, no introductory information was provided. The results show
universally acknowledged guidelines. Sensible elegant solutions to that while descriptions and opinions differ widely as expected,
problems are deemed to be both sensible and elegant but “not explanations for the differences cannot be simply categorized into
what a conservator would do.” technical exhibition conditions or personal background. In fact, in
This presentation will provide evidence of this trend and the case of the Van Gogh painting, a small but significant number
discuss the limits of arguments about the safety and economy of subjects including both professionals and non-professionals did
of doing nothing. A process will be proposed that will promote not even see the changes due to the virtual treatment which they
discussion of the full range of options and allow the construction were meant to see. Such results clearly have implications for the
of explicit policies for interventive treatments. These will be locally role of virtual retouching methods in conservation, but also for
determined and locally relevant. Any national or international traditional forms of active conservation. Further work is being
body attempting to regulate conservation practice need only insist carried out to determine whether virtual retouching is an accept-
that this policy has been discussed, locally approved and made able method for exhibiting locally aged works of art, or more an
universally accessible. important tool to help conservators visualize and make treatment
decisions.

Active Conservation Treatments and Virtual

Retouching: What do people actually see? In Support of the Bigger Picture: Preventive
conservation as a recognized specialty
Dr. W. (Bill) Wei
Elena Torok, Meg Loew Craft
The aging and discoloration of objects eventually lead to changes
in their appearance and a loss in materiality and value. Active In recent decades, preventive conservation has become an increas-
conservation treatments are meant to bring them back to some ingly larger and better defined part of every conservator’s job.
acceptable condition. However, at some point, an object is consid- Innovations in environmental monitoring, pest management,
ered a “total loss” because it can no longer be treated according archival materials, and overall collections care have enabled
to accepted conservation ethics. Virtual retouching techniques conservators to prevent damage or loss of cultural heritage more
have been shown to be a promising method for the non-invasive holistically, more sustainably, more economically, and on a larger
treatment of objects, allowing total-loss objects to be exhibited scale than ever before. This growing body of knowledge has caused
again, or at least to help conservators visualize treatments before the field to rethink preservation, as preventive conservation action
making treatment decisions. in the present can reduce the amount of interventive treatment
With the use of corrective color lighting, at least some needed in the future. This growth has been reflected internation-
semblance of the original color or color balance in an object can be ally in both conservation-related education and membership
brought back without physically altering the object surface. Still, groups. Many training programs in Europe and the U.K. now
even with non-invasive virtual retouching, critical questions are offer student specialization in preventive conservation, and at
being raised about what the acceptability of a virtually retouched least one training program in the U.S. is planning to add it as
appearance is. For example, various articles about the virtual a specialization soon. Preventive conservation sub-groups exist in
treatment of five Rothko paintings at Harvard University show the the ICOM-CC, ICON, and now AIC with the recent founding
diversity of opinions, ranging from the initial enthusiastic “Wow!” of the Collections Care Network. Will we ever acknowledge and
effect, to discussions about site-specific works, or the disturbing respect preventive conservation as its own independent specialty?
reflection of corrective light from a painting which produces its Preventive conservation is developing as other specialties have
own light (New Yorker 2015). historically; most recently, photography and electronic media
The Cultural Heritage Agency of the Netherlands (RCE) is grew from paper and became their own specific areas of concen-
examining these issues of acceptability and perception within the tration. Some practicing conservators have moved to become
framework of research on the local virtual retouching of objects, consultants focusing on museum environment, storage facilities,
that is, where only part of the object has changed. Case studies, exhibition or conservation planning and surveying – yet may or
perception tests, and eye tracking experiments are being used to may not already call themselves preventive conservators. Can one

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 CONCURRENT GENERAL SESSIONS

still be accepted as a conservation professional, even if they don’t a critical and practical eye, using a treatment case study to assess
do hands-on treatment? At present, the AIC accepts many indi- their efficacy in transmitting information accurately across time,
viduals who do not actively treat objects as conservation profes- institutions, and people. The treatment, recently conducted at
sionals, such as scientists, educators, and administrators. But other the Art Institute of Chicago for its newly opened medieval and
non-conservators share and engage in critical types of conservation Renaissance galleries (March 2017), is the comprehensive removal
activities, too. Can collection managers, registrars, art handlers, of overpaint from a quattrocento polychrome relief--begun, inter-
curators, and architects also be included as members of AIC so rupted, and ultimately completed three decades later by a different
they can share in the many benefits that professional membership conservator (the author). The documentation of treatment, also
has to offer? Conservation has many parts that enable the whole to spanning three decades, provides fertile ground for harvesting tips
function, and all specializations are equally important. Treatment- and fodder for thought.
based activities would not be effective without preventive-based The heart of the paper is divided in three sections. First,
activities, and vice-versa. It is important that conservators support specific features of the old documentation that proved helpful
one another in the common goal of preserving art and cultural to the recent phase of treatment will be identified. On the other
heritage. This paper will discuss what should define a preventive hand, its unintended consequences, ways in which it primed the
conservator, the status of preventive conservation in AIC, and the author’s treatment decisions and led to misunderstanding, will
wisdom of including preventive conservation specialization in also be discussed. Second, the paper describes ways in which the
conservation training programs. author sought to document difficult treatment decisions as well as
major changes in the artwork during treatment. Simple solutions
to common problems afflicting conservators of all specializations
Cross Platform Use of iPads in Stained Glass are offered. These include creating a “contact sheet” for quick
reference to an overwhelming number of digital photographs,
Conservation Treatment & Documentation maximizing comparative content on visuals documenting change,
Ariana Makau, Greer Ashman, Chloe Castro and adding a few atypical but helpful sections to a written report.
Finally, the paper explores the qualitative difference between
Historically stained glass conservation has used paper documen- formal documentation–usually in the form of reports written upon
tation. But, the level of complexity in working on monumental completion of treatment and finessed diagrams–and informal
windows, as well as our increased team size led Nzilani to develop documentation such as hand-written notes, lab notebooks, and
a real-time digital documentation system using iPads. sketches. The conclusion is that informal modes and methods are
Our upgraded documentation system includes using an vital to an accurate portrayal of the complexity and subjectivity of
in-house customized app on iPads to document our work onsite our conservation treatments.
(translated instantaneously to the studio team via the internet).
Base documents are then updated and used as reference throughout
the treatment process, and eventually become our final treatment
books with less reformatting than before. All information gathered Visualizing the Hartog Plate: An innovative
and updated throughout the project is easily translated into final approach
formatting software to create a finished and polished treatment
Tamar Davidowitz, Dr. Robert Erdmann
document with much more detail and quality than before… and
in less time. This paper will describe a method of integrating multiple imaging
techniques into a single, interactive, digital document, utilizing
recent developments in data science and interactive visualization.
That Poor Cousin of Treatment: Documentation This has led to a precise, flexible, and user-friendly documenta-
tion methodology, resulting in the integration of documentation
and possibilities for simple innovation into the conservation process itself. Allowing the conservator to
Cybele Tom annotate these digital documents during treatment provides an
opportunity for optimal insight and transparency.
Treatment of artworks and artifacts forms the core of a conser- This method was initially developed for the conservation of
vator’s responsibilities, but accompanying every modern-day the Hartog Plate, the first known object of European origin on the
treatment is some form of documentation. Documentation continent of Australia. Not only is the Plate a fascinating object in
informs future decisions affecting the artwork in aspects such as terms of material complexity, it is a document of singular impor-
its significance and meaning, insurance and provenance, and of tance to Australia and exploration history. To commemorate the
course, exhibition and treatment. Moreover, as some recent cases 400th anniversary of its placement, an extensive documentation
involving contemporary art have shown, documentation can and conservation project has been carried out. In conjunction with
itself constitute treatment. Therefore, as one of the key tenets of the material stability of the object, a primary aim of the project
modern conservation ethics, the practice of documenting artworks has been to develop a methodology with which to give insight
and their treatment shares the importance, if not the limelight, of to conservators, researchers, and the general public regarding the
benchwork. Plate’s material history, its current condition, and contemporary
This paper looks at common methods of documentation with conservation practice.

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The fragmented surface is severely corroded, and the layers of for the Egyptian mummies in the collection, thanks to the Penn
tin oxide—which contain the famous inscription—are delami- Museum’s public conservation lab, “In the Artifact Lab: Conserving
nating. The greatest conservation challenge was the removal of past Egyptian Mummies.”
restorations, which were distracting from the object’s readability Opened in 2012, the lab was set up in a gallery, which
and potentially harming the material itself. While the stabiliza- provided the necessary space to conserve the mummies and was
tion of the object and the removal of all unoriginal material were also an exhibition in its own right. This configuration has allowed
the main conservation goals, the documentation and presentation the mummies to remain on view while undergoing conservation
of its material history, condition, and conservation were impera- treatment, and the work includes daily public outreach which has
tive considering its importance as a historical document. Various heightened awareness of the museum’s collection and the field of
complementary visualization techniques, such as x-radiography, conservation. Before this project, the most recent conservation
UV-light photography, microscopy, and comprehensive 3D and in-depth examination of mummies was carried out in 1980
structured light and CT scans were implemented to gain a better in preparation for the exhibition: “The Egyptian Mummy: Secrets
understanding of aspects such as geometry, adhesion, material and Science.” While treatment records and photography exist
degradation processes, and crack propagation in the bulk. from this time period for most of the mummies in the gallery, they
Given the numerous imaging data sources used in the inves- are brief and often lack details about decision-making processes
tigation, a single self-consistent model of the Plate needed to be or materials testing. Prior to this exhibition, it is evident that the
assembled with minimal imaging artifacts. Registering the data mummies were worked on but there are minimal records of these
in this way ensures that any point in the Plate can be queried, interventions, including the autopsy of four mummies in the early
containing all of the signals from all of the imaging modalities. 1970s. In many cases, the same repairs have been observed on
With this data, statistical analyses and multimodal visualizations multiple mummies and on objects in the Egyptian collection,
can help to reveal interesting or anomalous areas of the Plate for which may be associated with preparation for their display in the
further study and documentation. All of the fused datasets for museum in the 1930s. This implies that there was a consistent
the Plate are stored in a multi-resolution format that allows for treatment approach, even though few treatment records exist.
fast data retrieval. This enables real-time interactive visualization In an effort to establish best practices and suitable treatment
through a web-based visualization engine, providing direct access protocols for the mummies, Penn Museum conservators, along
to the data via tablets and laptop computers for material analysis, with curators and collections staff, have spent the last several years
treatment, and the presentation of findings. In addition, all details reconstructing the histories of these mummies through careful
of the current on-screen view are encoded in the URL, enabling examination, scientific analysis, and research into their excavation
easy bookmarking, sharing of complex annotations, and linking records, collection circumstances, exhibition, and past treatment.
relevant documents. The technologies and tools applied to the Lacking formal guidelines for the treatment of mummies, the
documentation and conservation of the Hartog Plate serves as conservators developed a standard approach to treating mummies
an excellent example of what is already possible and the direction in the collection, informed by the way these mummies have
further developments can take. been displayed and treated in the past, and building on methods
developed by colleagues in the field. This, combined with the
public outreach efforts, is changing the way both colleagues and
Treatment: Don’t go it alone the public perceive and interact with the mummies and the larger
collection.

Unraveling the Past to Inform the Present:

Conservation of Egyptian mummies at the Penn A Pole with a Story: Innovative conservation and
Museum documentation of an American Indian story pole
Molly C. Gleeson, Alexis North Lesley A. Day, J. Claire Dean, Ellen J. Pearlstein
Central to the collections of the University of Pennsylvania Museum This paper will describe a structural, yet reversible, treatment of
of Archaeology and Anthropology (Penn Museum) is the Egyptian a 5.75 foot tall painted wood story pole carved c. 1930 by Chief
collection, which is one of the largest collections of Egyptian and William Shelton of the Tulalip tribe. The treatment and innovative
Nubian material in the United States. Housing approximately documentation were carried out at the Hibulb Cultural Center
50,000 individual objects, the collection was assembled over nearly in the summer of 2014. Totem or story poles that have spent
a century, beginning with purchases and gifts but mostly through decades outdoors are invariably structurally compromised due
excavations led or sponsored by the Museum. Included in the to rot, insects, and other biological growth. In order to restore
Egyptian collection are the mummified human remains of multiple structural stability, past treatments of wooden totem/story poles
individuals, spanning the whole of ancient Egyptian history. These have involved serious interventions that were neither reversible
mummies, while representing just a fraction of the Penn Museum’s nor re-treatable, including impregnating the rotted wood with
extensive collection, continue to be one of the biggest visitor attrac- epoxy resins.
tions and many have been on display for decades. Over the last four While this treatment has been beneficial and allowed many
years, there has been a concerted effort to address conservation needs deteriorated poles to be preserved and displayed (indoors and

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 CONCURRENT GENERAL SESSIONS

outdoors), treatment goals were sought that would impart stability X-Ray fluorescence (XRF), and Fourier Transform Infrared
to the object in a highly reversible and re-treatable manner, partic- Spectroscopy (FTIR) indicated that the original paint is an alkyd
ularly because this story pole would remain indoors. Consolida- resin with titanium dioxide pigment. The restoration layer was
tion of the rotten and insect-eaten wood was conducted with identified as polyvinyl acetate paint (PVA) with titanium dioxide
Butvar®B-98 (polyvinyl butyral resin) and a removable, flexible pigment as the colorant. Analysis of a brown streaking residue
epoxy resin fill system (Conserve Epoxy W200, a conservation and white bloom indicate that pentaerythritol (PE) (degradation
grade epoxy resin) was devised to fill deep, irregularly shaped products of the alkyd) have leached into the PVA and deposited
voids within the pole section. During the treatment, an exciting on the restoration surface, somewhat merging the two paints. The
discovery was made in the identification of this pole section as analysis was central to designing the treatment, allowing identifi-
belonging to the “Comeford Park Pole,” long thought to have cation of a cleaning system that would solubilize the restoration
been lost. In addition, by researching historic photographs of the paint layer without disturbing the original paint. Environmental
Comeford Park Pole in the HCC archives and consulting with management was key to stabilizing the sculptures. The envi-
Tulalip tribal members, the top section of the pole was revealed ronmental conditions of the chapel were studied to allow for a
to be another unidentified pole section located in storage and comprehensive plan that will be implemented through renovation
confirmed through photodocumentation techniques. of the HVAC system and a new lighting system.
These discoveries generated excitement within the community, This paper will discuss treatment goals including the decision
and in consultation with native Tulalip carver and artist James to use funori to consolidate the paint and PVA Nanorestore gels
Madison, plans were developed to reunite the pole sections with to separate the restoration paint and reveal the original. The
a strong back to be carved by Madison. Sharing the conservation success and method for applying the funori will be examined
treatment with the Tulalip community was important to the and the gel application approach described. Waste reduction,
conservators in order to generate interest in and display transpar- minimizing toxicity and minimizing the environmental impact
ency about the conservation treatment. To this end, the treatment of the treatment were a goal of the treatment plan. A life cycle
was documented using a time-lapse camera and edited videos were analysis (LCA) of the cleaning options influenced the treatment
shared on the Hibulb Cultural Center Facebook page. choices and methods. The progression of the project through
funding applications, and the conservator involvement in discus-
sions with the church community lead to the resulting execution
Treatment of a White Louise Nevelson of the project in phases and was a major part of the project success.
Educating the church community, and working with the church
Installation pastors and congregation was a key part of the treatment process
Sarah Nunberg, Cindie Kehlet, Soraya Alcala, Mathew Eckelman, and a learning experience for all.
Carolyn Tomkiewicz, Chris McGlinchy, Carolyn Tomkiewicz,
Michael Henry, Jens Dittmer
The Louise Nevelson Chapel of the Good Shepherd installation Not a Known Carcinogen: Health and safety
at the Saint Peter’s Church in New York City consists of seven considerations of new and innovative treatments
sculptural elements. An all-covering thick, white, chalky restora- Anne Kingery-Schwartz, Kerith Koss Schrager, Julie Sobelman
tion paint, applied from 1986-2006, has disfigured the sculpture
surface. This paper will discuss paint analysis, the interaction Innovative conservation treatment often means using new
between the original paint and the restoration paint, the condition materials, adapting old materials in unusual ways or adopting
of each paint layer and the final treatment plan as well as the art novel techniques and technologies from other fields. Presentations
historical background supporting the treatment, the sustainable on these innovations, whether through conferences or journals,
approach to the treatment and the church community involve- tend to focus on the mechanism of the techniques, their uses and
ment. The ethics behind the treatment, justifying removal of the how they improve the treatment and affect the objects. Occasion-
restoration layers will also be discussed. ally they touch upon health and safety issues, yet still emphasize
Through examination of the Saint Peter’s Nevelson surface the health and safety of the object over that of the conservator. In
and cross sections, as well as eight additional white Nevelson the adaptation of any innovative technique, the health and safety
sculptures, it was determined that the original paint surface associated with the materials should be considered. But what if
was a homogeneous cream white coating. Deterioration of the that information is limited or unclear? This paper will explore the
restoration layers had created a problematic surface that was health and safety issues of innovative treatments; how conservators
actively flaking, deteriorating and discolored. Additionally, the should interpret health and safety data in general; and what steps
restoration paint is dirty, uneven with bumps, ridges, brush hairs, to take if there is no information available.
and is lifting, peeling, and pulling up original paint. Devising a Cyclododecane will be used as a case study to highlight the
treatment method to stabilize and clean the surface has been a unique health and safety scenarios faced by conservators of all
multiphase process dependent on the art historical research, paint specialties and where health and safety in general falls into the
analysis, and church funding. treatment decision making process. Although used in conserva-
Scientific analyses of the sculptures involving Nuclear tion for over twenty years, cyclododecane as a treatment option
Magnetic Resonance (NMR), Gas Chromatography (GCMS), is still considered innovative as conservators continue to find

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 CONCURRENT GENERAL SESSIONS

new ways to take advantage of the fact that it slowly sublimates Hyenas are significant in terms of the history of taxidermy. They
at room temperature. It is a material that is used across conser- were collected, prepared and arranged for display by Carl Akeley,
vation disciplines, so most conservators have or will encounter one of the most renowned American taxidermists. The decision to
cyclododecane over the course of their careers. Cyclododecane also create the new habitat diorama allowed access to the hyenas for
represents a material that, as it is more commonly used without careful consideration of Akeley’s (often secret) methods, materials
addressing safety concerns, becomes accepted as safe without and techniques for mounting and display of specimens. A small
question. In fact, there is very little health and safety informa- team of conservators and scientists collaborated to ensure that the
tion for cyclododecane (or many of the other chemicals used in hyenas were carefully treated and studied prior to installation.
treatment, particularly in the off-label use by conservators). The The treatment included many thoughtful choices. Primary
information that is provided may be misleading or confusing to were those related to the visual integrity of the specimens that
those unfamiliar with industrial hygiene terminology. One manu- resulted in the inpainting only the sides of the mounts seen
facturer states the “general population will not come in contact by visitors. Further, the overall color balance for lighting the
with cyclododecane as the substance is manufactured and used diorama was chosen to reduce the appearance of fading. Analysis,
exclusively in industrial settings under strictly controlled condi- examination, cleaning and stabilization of the specimens revealed
tions.” A review of the conservation literature indicates otherwise; details about Akeley’s methods that were previously unknown
cyclododecane is being used outside of industrial settings, condi- and presented new information about his taxidermy techniques.
tions are not strictly controlled and there is significant potential Visually disfiguring overpaint and damage previously attributed
for exposure to conservators and the general public. The authors to pest activity was reconsidered in light of research revealing
will also discuss the recent decision by conservation suppliers to that deterioration during field preparation of freshly harvested
discontinue carrying cyclodecane and the implications on conser- mammalian skins can lead to hair slippage and overpainting
vators and their treatments. during the mounting process. In spite of the tight time schedule
Conservators dutifully checking Safety Data Sheets become for treatment and display construction, the group was able collect
frustrated by the phrase “no data” in critical fields. How should information about Carl Akeley’s techniques that helped guide
conservators interpret minimal SDS information and, more treatment choices and inform display conditions.
importantly, how should they protect themselves? The paper
presents the available resources for finding out about the health
and safety issues related to all materials, since even materials that Flouting Convention: The integration of Asian
have a history of use within conservation have not been thoroughly
studied. The authors will discuss the choices that conservators
paintings at Taliesin and their conservation
make when dealing with unknown health risks based on inter- T.K. McClintock, Lorraine J. Bigrigg, Deborah LaCamera, Lisa
views with conservators who have used cyclododecane and what Berk
these observations reveal about considerations of health and safety
within the field of conservation. And finally, they will outline their The year 2017 marks the sesquicentennial of the birth of Frank
journey to get the American Conference of Governmental Indus- Lloyd Wright (1867-1959). Chicago is where he gained his
trial Hygienists (ACGIH), the body that recommends airborne renown as an architect and where he was first exposed to the arts
concentrations of agents and exposure conditions, to define health and architecture of Japan at the World’s Columbian Exposition in
and safety data for cyclododecane. 1893. Chicago is also the city from which he was socially ostra-
cized in 1910 upon his return from a year in Europe preparing the
Wasmuth portfolio (accompanied by the wife of a client while his
family remained in suburban Oak Park).
Re-exhibiting Akeley Mounts at the Field He retreated to family land near Spring Green, Wisconsin
Museum, Chicago where he built Taliesin, a manor house, studio, design laboratory,
and working farm. The house was destroyed by arson in 1914
Lisa Goldberg, Thomas Gnoske, Ronald Harvey, Shelley Reisman
and damaged again by an electrical fire in 1925. While tragic
Paine
in the loss of both lives and property, it did allow for Wright to
The Field Museum of Natural History recently opened a new rebuild a third time with a still more expansive and refined vision
diorama featuring four mammal specimens that had been previ- to encompass a main house and studio, theater, farm buildings,
ously exhibited in an oddly placed case situated among the reptile and, after 1932, accommodations and facilities for a fellowship
displays. After much consideration and visitor surveys, the Museum and school.
moved forward to create its first new habitat diorama in over 60 This permutation, Taliesin III, was the most personal embodi-
years, reinstalling an existing 1921 grouping of Striped Hyenas ment of his Prairie House style and a work in progress for the rest
created by Carl Akeley into an original empty diorama cell. The of his life. Integral to the architectural esthetic was the display of
project was funded by a successful Indiegogo campaign that raised Asian art, for which Wright was an early, voracious, and discrimi-
funds from across the globe. Creating this new diorama involved nating collector. This was most clearly expressed in the form of
the full scope of the museum’s exhibition process as discussions and large format Japanese and Chinese paintings mounted flat against
planning proceeded to design the habitat, add new specimens and the wall to fit specifically prepared for locations. These displays
create a space that would ensure their preservation. The Striped were complemented by works of sculpture, the decorative arts,

2017 AIC Annual Meeting Abstracts

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 CONCURRENT GENERAL SESSIONS

and the always present Japanese woodblock print. review CHILD’s history and come to a consensus on if and to
This presentation will focus on the treatment of a group of what extent a conservation effort was possible or appropriate.
markedly compromised Japanese screen paintings and Chinese Since its creation in 1960 the wax figure had taken on an increas-
scroll paintings reformatted as panels that were mounted in the ingly slumped position due to a gradual delamination along
important public rooms at Taliesin. It will be framed by a brief the original tacked joins. The nylons had pulled away from the
discussion of the preliminary condition survey of the larger group sculpture during an earlier restoration attempt in 2000 and hung
of paintings and the curatorial assessment of their quality; improve- tenuously from the chair in small bundles. CHILD’s condition
ments to the building envelope and mitigating the extremes of in 2015 was ultimately deemed unexhibitable and a treatment
the internal environment; the period of interpretation as the final attempt was decided upon.
year of Wright’s life (as significant changes to the complex were The goal of the treatment of CHILD was to return the
made after his death, and in addition to accommodating tours, figure and the nylon stockings as close as possible to their 1960
the complex continues to be used by the legacy fellowship as a orientation and, once in place, stabilize the sculpture so that it
residential and working facility). It will consider the decision could withstand exhibition and travel in the present and future.
making process both to display original works year ‘round (in We will review our treatment processes: removing sections of
lieu of removing the paintings seasonally or using full size photo- CHILD from its original chair, the production of a mock chair,
reproductions) and to develop an esthetic of conservation for the stabilization and armature building of the wax components,
other original furnishings. and replacement of small sections of missing nylons. The overall
Most of the presentation will focus on the conservation objec- treatment design was formulated in real time in response to the
tives, procedures, materials, techniques, and sensibilities inherent condition of the wax and trial and error of various armature
to the treatment of large format works of Asian art on paper designs. Rebuilding the wax figure was iterative and required the
and silk, as well as the variations from traditional practices that use of an armature material that could be reworked. We used a
have proved valuable for works collected for and displayed in the thermoplastic polyester resin, polycaprolactone, embedded in a
Western context. Finally, it will examine the place of specialization variety of mesh and scrim materials to construct the armature.
within the profession of conservation, the rationales that substan- And finally, this paper will review the documentation procedures
tiate it, and what value it has in the cross-pollination of technical we implemented to visualize the treatment including a GoPro
developments. timelapse, x-radiography, and photogrammetry. Material analyses
of the treatment materials and wax were also performed by the
MoMA science conservation department. These sets of informa-
tion will also be used to monitor CHILD’s condition and stability
Unique Objects, Unique Treatments as it moves to other venues in the exhibition.

The 40-year Conservation Story of Bruce How Important is Knowing the Ropes? Thoughts
Conner’s CHILD on the ethics and practice of conserving ship
Megan Randall, Roger Griffith model rigging
Bruce Conner’s CHILD was created in 1959 as a response to Davina Kuh Jakobi
the sentencing of death-row inmate Caryl Chessman who had
The Rijksmuseum Amsterdam holds a significant collection
been incarcerated for the kidnapping and sexual molestation of
of ship models transferred from the Dutch Navy in the 1880s.
a woman in Los Angeles. Conner responded to this high-profile
One particularly miniature model, the Thetis, is a 1:150 scale
capital punishment case and his visceral repulsion to it by creating
(estimated) fully-rigged model of a 24 gun, three deck ship.
a frightening sculpture of a deformed corpse-like child. Made from
The model is polychrome and has decorative elements such as
casting wax, the figure appears strapped to a wooden highchair
a crowned lion figurehead and stern carvings both carved from
with belt and twine, the head tilted backwards with a gaping or
wood, and painted lead fishtail drops on the lower portions of
screaming mouth, and body veiled in torn and stretched nylon
the quarter galleries. Additional fittings include two anchors, two
stockings. The disturbing and emotionally charged imagery of
launches hanging above the waist, a ship’s bell, and a capstan on
CHILD served as a lightning rod upon its initial exhibition at
the main deck under bone grating. Though it is thought that the
the De Young Museum in 1959-1960. CHILD was acquired by
model represents a frigate named Thetis built in Amsterdam in
MoMA in 1970, and while the sculpture was lent to three venues
the 18th century, it is unclear exactly which vessel the model
since its acquisition it has never been on view at MoMA nor
represents, nor is it understood who made the model or for what
included in a Conner retrospective until 2016.
purpose it was built, meaning that it is considered a non-technical
This paper will overview three main aspects of the project:
model. Although the Thetis has been subject to at least three
the history of CHILD and its condition at MoMA, the treatment
previous restoration campaigns, the thread rigging and textile sails
process, and the documentation and analysis implemented to
of the ship model were found to be in an overall poor state and
record the treatment and monitor its current and future condition.
unstable condition.
In 2015 MoMA hosted a group of scholars and conservators to

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 CONCURRENT GENERAL SESSIONS

While rigging is often considered an important aesthetic Verification of the archival information was carried out using gas
component representative of a vital functional element on ship chromatography/mass spectrometry (GC/MS) on a selection of cel
models, it may not always be accurate to the ship or the period paints, which also provided useful estimates of pigment-to-binder
that is represented for a variety of reasons. These materials are ratios and precise information about additive compositions. Time-
often the first part of the ship model that experience damage. On lapse video of an experiment, placing a cel in an environmental
the Thetis, most of the silk sails were damaged, with tears and chamber and fluctuating between 15 and 75 percent relative
losses throughout. Additionally, much of the cotton thread that humidity (%RH), revealed the responsive behavior of the sheet
represents the running rigging was desiccated and broken. There and paint. Surprisingly, previous delaminated paint reattached in
is little to no formal literature regarding materials commonly some areas at elevated RH levels.
utilized in ship model rigging, the conservation issues associated To investigate the causes of these phenomena and assess the
with ship model rigging, or the potential conservation treatments relative hardness of paints as a function of RH, selective paints
for this aesthetically complex portion of ship models. Tradition- were studied using manually applied indentation on a micro-scale
ally, ship model makers, historians, and hobbyists have restored ranging from 30-85%RH. Interestingly, some colors became
ship models, often completely removing and re-rigging the model almost fluid above certain %RH levels, but regained their
as part of the restoration process. As part of this, damaged, desic- firmness as the RH was reduced. Analysis of these paints by a
cated, or what is considered incorrect rigging is often removed and nano-indenter instrument is planned for comparing to the results
replaced. The Thetis is no exception: it is likely that the rigging of manual indentation. Time-lapse studies of cels undergoing
and sails were replaced sometime after it was accessioned into temperature cycling will also be conducted for comparison. Based
the Rijksmuseum in 1883. However, an additional crucial issue on these findings, the conservation approach aims to investigate
that required further consideration prior to conservation process the reactivation of hygroscopic additives in the paint media,
is that the model has been incorrectly rigged in many areas. thus minimizing the creation of a moisture barrier. A number of
The historic practice of re-rigging still remains common in the application techniques are explored that utilize humidity, solvents
field of ship model restoration on an international scale within and combinations of both, with limits imposed by the solubility
both private and institutional collections. However, the ethics of parameters of the paints and plastic sheets. Use of a specially
performing full and even partial re-rigging on these unique objects constructed workstation based upon approaches for reverse-glass
must be carefully considered, especially in regards to miniature paintings conservation, where the object is elevated onto a glass
scale and non-technical ship models. This paper will use the most plate and a mirror is placed underneath, permits simultaneously
recent conservation treatment of the rigged portion of the Thetis viewing and imaging the front and reverse of cels during tests and
as the lens to explore the ethical considerations in the conserva- treatments. The use of humidity and solvents to treat flaking paint
tion of ship model rigging, with the goal of providing a suggested by reactivation is a balancing act that poses interesting practical
practical methodology. and ethical issues. Can treatments cause permanent distortions in
the plastic sheets? When can migration of additives in the paints
and sheets occur? To what extent can paint be re-solubilized
Reattaching Without Adhesive? Yes, We Can! The without changing its original characteristics? Responses to these
issues will be discussed.
reactivation of paint on animation cels
Katharina Hoeyng, Art Kaplan, Joy Mazurek, Carolyn Carta,
Vincent Beltran, Kristen McCormick, Michael Schilling It’s About Time
Research is underway at the Getty Conservation Institute Beth Richwine, Diana Galante, Dawn Wallace
(GCI) and the Walt Disney Animation Research Library (ARL)
to investigate storage and treatment strategies for animation From May 2016 through September 2016, a team of conservators
cels. Animation cels are transparent sheets of cellulose nitrate, worked to get the Great American Historical Clock assembled and
cellulose diacetate, -triacetate or polyester that are inked on the operational in preparation for filming and later inclusion in an
front – which is the viewing side – and painted on the reverse. exhibit called “Democracy,” opening in July 2017 at the National
A condition survey of animation cels, selected from productions Museum of American History in Washington, DC. The clock, built
between 1937 and 1989 from the ARL collection, revealed that about 1893, represents one man’s vision of important historical
only a small percentage of cels show evidence of paint cracking, events in the history of the United States. When assembled, the
delamination or flaking. clock will measure a little over 11-1/2 feet tall, 6 feet wide and 4
This paper will present recent innovations in paint reattach- feet deep. The assembled clock includes an actual clock, dioramas
ment, based on research findings, which rely on intrinsic hygro- of historical events, painted panels, an orrery, and a procession of
scopic properties of the cel paints. As described in lab notebooks, soldiers and presidents.
paint recipes and other documents in the Disney Archives, paints Most of the dioramas have animated elements, such as
made at the Disney Ink & Paint Department between 1936 and Pocahontas pleading for the life of John Smith, that are tripped
1986 were formulated with gum-based binding media. Surfactants to move by the times on the clock. Moving parts are run by a
and humectants were added to the paints to improve application mechanism that includes three heavy weights running down
to the plastic sheets and impart flexibility to the dried paints. through the central core of the clock and connected by gearing

2017 AIC Annual Meeting Abstracts

16
 CONCURRENT GENERAL SESSIONS

to a central shaft with chain drives running out to each diorama. (with a thickness of a few µm) and at the same time have a high
It also includes a music box which is tripped in concert with the mechanical strength.
movements of the dioramas. The clock was meant to travel and In the first part, this material, these unique properties and the
so comes apart as a series of cubes for packing. There is evidence chemical processes to produce MFC will be defined. The second
that it traveled with a variety show as far as Australia and Hawaii. part will present the main results of research carried out at the
Then it traveled back through the US by way of Seattle to Boston National Library of France (BnF, Paris, France) on MFC films,
where its maker, C.S. Chase, lived. In later years, it was on view in such as the comparison with four thin Japanese papers generally
two different barns in New Hampshire before being acquired by a used to mend tears on translucent artworks, its combination with
dealer and subsequently by the Smithsonian in 1979. different adhesives, and artificial aging tests (light, temperature
A team of 9 conservators treated the clock over a five-month and humidity) as well as mechanical strength tests. MFC films
period and included 4 contract objects conservators, one contract were used for the first time on museum objects, to mend large
textile conservator, one contract clock restorer and three staff tears of some optical viewing slides made of thin and translucent
objects conservators. While the clock has been conserved to papers, which belong to the French Museum of Cinema (la Ciné-
clean and stabilize the materials and components, minimal loss mathèque française, Paris, France).
compensation was done, as the age of the clock, its life, and history Compared to traditional repair methods, the MFC film results
were taken into account. After the clock was conserved, it was were best suited for the treatment. The repair method developed
operated for a short time so it could be filmed. The film is to be will be presented. The third part will report the first results from
included in the exhibit to show how it operates. The clock cannot new research to be carried out at the Research Center for Conser-
be run routinely because of the fragility of some the materials and vation (CRC, Paris, France) starting in the fall 2016. This project
the constant maintenance required. Since the clock will not be will entail a partnership with American and French nanocellulose
run during the exhibition, the documentation of the project and manufacturing laboratories and the French Museum of Cinema.
mechanisms is of incredible importance. This project allowed for Different types of nanocellulose films will be made. Further
analysis and exploration into this fascinating piece of American mechanical and chemical tests will be conducted on unaged and
Folk Art and provided clues to the mystery of the maker, his artificially aged films, in order to better characterize the films,
timeline and processes he used in building the clock. The logistics such as pH and mechanical strength measurements, molar mass
of organizing the project and coordination between the many determinations, SEM measurements and fungal resistance tests.
conservators and labs, both staff and contractors, with different The films will be applied on a wide range of cinema and animation
specialties proved to be a unique and challenging opportunity. film media from the Museum collections, made of translucent
With considerable coordination and planning, the project was and transparent supports. This research will be an opportunity
completely successful. to gather new information about the nanomaterial itself and its
new potential applications in the field of conservation. The various
aspects of the commercialization of MFC films for museums and
Nanocellulose Films: Properties, development and conservators will be presented as well.
new applications for translucent and transparent
artworks and documents
Development of Cleaning Treatments for Asian
Remy Dreyfuss-Deseigne, Anne-Laurence Dupont Lacquer
Graphic artworks and documents, made of translucent or trans- Marianne Webb, Herant Khanjian, Michael R. Schilling
parent supports, are omnipresent in archives and museum collec-
tions. Thin papers, tracing papers, cellulose acetate sheets or films Over the last four decades, the knowledge about Asian lacquer
are a few examples. But these supports are in general delicate and formulations has grown exponentially, particularly through appli-
fragile, and the artworks and documents made on these materials cation of pyrolysis-gas chromatography/mass spectrometry with
can very often have some structural alterations, which can be a thermally-assisted pyrolysis and methylation (THM-PyGCMS).
major problem for handling, consultation, digitization or exhibi- Analytical research has revealed that Asian lacquers are complex
tion. The field of nanotechnologies offers new possibilities to solve mixtures of materials, each of which influence the behavior and
these specific problems. deterioration processes. This perspective explains why safe and
The main objective of the present study is to introduce new effective cleaning methods for lacquer have yet to be established.
and innovative mending materials, in particular, nanocellulose In this paper, we will describe current practice, the present
films. The study focuses on one kind of nanocellulose, the microfi- state of knowledge, ethical considerations and research goals
brillated cellulose (generally abbreviated MFC). This material has towards developing safe and effective methods of cleaning Asian
the best properties of cellulose, combined with some promising lacquer. Current practice is limited to a few marginally successful
characteristics of nanomaterials. For instance, a MFC film is made methods, most of which involve aqueous cleaning. The skill of
of pure cellulose and so is very stable. It can be as transparent the conservator in limiting contact time of the solution dictates
as a polyester film like mylar. Also, a film that is composed of success, regardless of whether the solution used is low pH or
microfibrils with a width of a few nanometers, can be very thin simply distilled water. Asian lacquer is susceptible to blanching,
sudden discoloration or erosion with the slightest misjudgment.

General Session - Four Tracks

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 CONCURRENT GENERAL SESSIONS

Research on cleaning must take into account a range of lacquer

formulations, which have been shown to vary by country, region
and time period.
By adopting the analytical protocols taught in the Getty
Conservation Institute “Recent Advances in Characterizing Asian
Lacquer” (RAdICAL) workshop, researchers around the world
are establishing patterns of materials and methods, which can be
used to make mockups that reflect the main components of Asian
lacquer. Methods of accelerated aging, developed in research at the
Victoria and Albert Museum, have produced weathered surfaces
that closely approximate the appearance of naturally-aged lacquer.
Better understanding of the chemistry of Asian lacquer surfaces
has come from detailed analysis of aged lacquer mockups. In devel-
oping new methods, ethical issues of cleaning must be considered.
What are the goals for the treatment? Removal of dirt alone seldom
makes Asian lacquer look better, whereas removal of the degraded
lacquer surface layer often improves the appearance by revealing
a fresh, glossy subsurface layer. Should the approach to lacquer be
similar to the removal of tarnish from silver, or should methods
be developed that separate dirt from the degraded surface layers?
Should coatings be applied to improve the appearance, or might
there be a middle ground? Observation of surface interactions of
the mockups with solvents, solutions and dirt surfaces will be an
important aspect towards the development of effective cleaning
methods for a wide range of lacquer formulations.

2017 AIC Annual Meeting Abstracts

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 ARCHITECTURE

Learning Together from Preventive Conservation: the Revolutionary War.

Restoration of the choir room of the Convent of The historic space recently underwent a multi-year, state-of-
the-art restoration to return the room as accurately as possible
Mercedarian Sisters (S XVIII), Lima, Perú to its 18th-century appearance. Exhaustive physical investiga-
Erika Anticona tion and meticulous research ensured the authenticity of the
richly-ornamented architectural detailing and the furnishings as
The Convent of the Mercedarian Sisters was built in 1727 within they would have appeared on December 23, 1783. This paper
the Historic Centre of Lima. It is one of the convents that form documents the decision-making processes required to adapt the
part of the Provincial Archbishop of Lima, where the Cathedral use of historical materials and methods of construction, to matters
of Lima conducts restoration projects through it technical team. of budget, schedule, existing conditions and performance.
In our experience on convents, the conservation works require a “The Perfect Room” explores the real consequences and
strategy to convince the occupants that their real and personal the effects of modern systems and technology on a single room
properties are Cultural Heritage of the Nation. We should articu- preserved through pristine approaches of traditional processes
late the conservation and restoration needs, with their daily life, using authentic 18th century materials. Traditional craftsmen,
and explain what they call “conservation measures.” experienced in 18th-century building practices, undertook various
Since our first encounters with religious orders, we have been aspects of the restoration, including the creation of flat and decora-
able to establish a work methodology based on dialogue and inter- tive plasterwork, millwork, flooring, blacksmithing, and painting,
action, aimed at the conservation of cultural goods. In the case of using period techniques. Hand-mixed paints, reclaimed flooring
the Convent of Madres Mercedarias, the Choir of the Convent, of the highest quality, lime plaster, and hand-planed lumber were
a 300-year-old architectonic structure, never intervened before, used on all visible surfaces.
showed a high level of deterioration, which caused a complex From the beginning, the project team aimed for the highest
intervention at structural and architectural level, besides the resto- standard of authenticity in the use of traditional materials and
ration of the Assumption Altarpiece placed in the choir room, historic construction methods. Yet, the reality of restoring such a
which was about to fall too. Although the decision to execute room in a modern environment meant creating a balance between
the restoration of the choir room was taken, there were other using modern materials and techniques in the infrastructure and
items we found which needed immediate intervention, such as sub-surface areas and maintaining a visibly 18th-century finished
the paintings with high historic and artistic value (many of them space.
from 17th and 18th centuries) which needed an adequate conser- This presentation will provide an analysis of the design details
vation preventive management. One of the basic considerations for the following project components:
for the execution of conservation works with Mercedarian nuns • Conservation of the central niche.
have been the permanent communication and participation, • Conservation of the original columns, and columns from
since they have carried out for decades superficial maintenance an early balcony restoration.
works, which sometimes were detrimental for the conservation • Hand-mixed paints and distemper coatings.
of the items: “shaking,” “washing,” “polish,” “rub”; besides, the • Installation of edge dowelled floor boards.
construction of buildings with modern materials in several sectors • Millwork. Why it was necessary to glue certain compo-
of the convent were detrimental to conservation too. In the daily nents of the millwork to ensure its stability.
activities of nuns, we could identify a series of useful preventive • Nails. Mild steel was used in the production of handmade
conservation activities, and others that had to be changed, as well nails; wrought iron was not available in the time frame
as the important location of damages: they were able to identify in which the project had to be completed. Nail produc-
the problems and deterioration levels of the goods and cloister’s tion also utilized machine stamping of heads in lieu of
structures. Once the restoration processes finished, the old main- hand-forging.
tenance techniques were compared with the interventions for • Furring strips were primed on all sides to ensure stability
architectonic and collection conservation. and long lasting performance. There was no evidence
that the original furring strips were coated.
• Decorative Plaster was precast (rather than run-in-place)
The Perfect Room: The restoration of the Old with some applied detailing for cost and schedule savings.
Senate Chamber at the Maryland State House, • Flat Plaster on brick masonry walls, the use of rice paper
Annapolis, Maryland to preserve traces of original 18th century plaster and
wire mesh lath to ensure stability of lime plaster over a
David C. Overholt cracked brick substrate.
• The reality of using historic materials and techniques
The Old Senate Chamber of the Maryland State House was the
within a building with modern mechanical systems,
location of nationally significant events in 1783 and 1784. As
in-use as a functioning government complex.
the temporary home of the Continental Congress, it was here
that General George Washington resigned his commission to
Congress, thus creating the first modern democracy. It was also in
this room where the Treaty of Paris was ratified, officially ending

Architecture
19
 ARCHITECTURE

Research, Encapsulation and Replication of the could not be removed was assessed, recorded, and provided protec-
Original 1844 Trompe l’oeil Apse Mural in the tion in-situ. Conservation work consisted of carefully dry cleaning
all the walls of general soiling that had built up over the years.
Old Whaler’s Church, Sag Harbor, NY Selective wet cleaning was performed on areas with heavier staining
Geoffrey Steward, Mary Aldrich and soiling. Areas with holes were re-plastered and in-painted to
match the surrounding walls. Cracks were stabilized by injection
The Old Whaler’s Church, designed by Minard Lafever, was grouting. Lastly, walls were re-varnished using an oil-based varnish
built in the Egyptian Revival style in 1844 with an ornate Greek similar to what Ireland may have used. The selected varnish had to
Revival interior. Due to financial constraints, the curved apse was be manipulated in application to mimic the high VOC (no longer
replaced by a flat wall during the construction. A 40’ long x 25’ legal in California) and slow setting time of the oil-based varnish
high trompe l’oeil mural was painted to provide the illusion of the used by Ireland. Varnish was applied quickly using rollers that
curved apse. Over 170 years, the original mural was overpainted left behind a mirror-like finish that did not detract from Ireland’s
six times. We were commissioned to research the original, encap- brush strokes and marks. Floors were also finished in a high-gloss
sulate what remained, and to faithfully reproduce the original. oil-based varnish as they had been historically.
In 2013, our team spent ten days meticulously removing at least Once the conservation work of the interior finishes had
six layers of overpaint to allow full scale mapping of the original been completed, stored artwork was re-installed. Re-installation
layout from the exposures, detailed information on the hand(s) depended on careful documentation of the artwork’s conditions,
and stylistic approach of the original team of artists and the use locations, and positioning prior to de-installation. Re-installation
of two late 1800’s photographs to provide accurate data to allow a was coordinated with the 500 Capp St. Foundation and the San
faithful replication of the mural. In the summer of 2014, we were Francisco Museum of Modern Art (SFMOMA). Interior spaces
contracted to reproduce the original mural. This was achieved in were acclimatized to receive artwork on loan from the SFMOMA.
12 weeks. We will detail the original research, including the paint
stratigraphy prepared by our paint analyst, and review the meth-
odology applied and the resulting replication.
Conservation in Context: Considerations in
treatment planning in relation to the safety of
500 Capp Street: Conservation of interior conservators and the general public
contemporary finishes and artwork by David Beata Sasinska
Ireland One of the primary concerns for most conservators is the safety
Dena Kefallinos, Johana Moreno of the treatment on the material receiving treatment. However,
one often overlooked consideration in treatment planning is
ARG Conservation Services (ARG/CS) was contracted by the 500 the safety of the treatment for those carrying it out as well as
Capp Street Foundation to perform exterior and interior conser- the general public that may be exposed, particularly in the case
vation work of a vacant residence constructed circa 1880 at 500 of in-situ works and built heritage. Treatment dangers come in
Capp Street, San Francisco, CA, while it underwent seismic retro- many different forms, including exposure to hazardous chemicals,
fitting, elevator access, and building additions to be converted into extreme temperatures, vapors, particulates, falling hazards, sharp
a mansion-museum and gallery space. What sets this residence objects, and more. This presentation seeks to explore some of
apart from the other Victorian residences in the rapidly gentrifying the common hazardous conditions created by conservation treat-
Latino neighborhood of the Mission District, is that it was once ments, alternatives and their tradeoffs, and methods to offset the
inhabited by famous contemporary artist David Ireland during the risk. A variety of case study sites in the New York City area will
1970-80s. Ireland had filled the house with his artwork and had be discussed.
finished all the walls and floors using commercial products of his
time that have since then been discontinued.
This presentation will discuss how ARG/CS approached the
de-installation, packaging, storage, and re-installation of contem- Beyond Treatment: Monitoring before during
porary artwork, and the conservation treatments performed and after conservation of the mural América
on Ireland’s contemporary interior finishes with a focus on the Tropical by David Alfaro Siqueiros, 1932
lustrous ocher-colored varnished walls, which are unique and
characteristic to 500 Capp Street. Conservation work of interior Leslie Rainer, Kiernan Graves
finishes was done room-by-room and coordinated with contrac- América Tropical was painted by renowned artist David Alfaro
tors on site doing seismic retrofitting, electrical, and building Siqueiros in 1932 on the second story exterior wall of the
additions. Each room was sectioned off with protection and historic Italian Hall, located in El Pueblo Historic Monument in
contained to prevent the transmission of dust and workers on site downtown Los Angeles, and is the only mural painted by Siqueiros
from accidently touching conservation work. Prior to conserva- in the U.S. which remains in situ today. Measuring approximately
tion work, all contemporary artwork that could be removed was 18 x 80 feet, América Tropical depicts a Mexican Indian, crucified
carefully assessed, recorded, dismantled, and stored. Artwork that on a double cross beneath an American eagle. Two sharpshooters

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are taking aim at the eagle from a nearby rooftop. sculpted in 1781, was covered during the Civil War by the local
Given the significance of the mural and its conservation citizens in order to protect it from the incendiary bombs of the
problems, in 1988 the Getty Conservation Institute (GCI) entered enemy air forces, and it has been witness of the most important
into a collaborative partnership with El Pueblo de Los Angeles events in Spain, Royal Weddings, demonstrations and different
Historical Monument, a department of the City of Los Angeles, social activities and, nowadays, it is the place where Real Madrid
to conserve, protect and interpret the mural, and provide public supporters celebrate their triumphs. Having been responsible
access to view it. In the years that followed, the GCI measured of emblematic works such as principal Altarpiece Mayor in the
environmental conditions, analyzed the paint and plaster, Monastery of San Lorenzo del Escorial, or the façade of the
performed conservation treatment, and digitally documented National Library, specific products, which have been “asleep” for
condition and treatment; while the City of Los Angeles built a more than 2,000 years, have been recovered during the process by
protective shelter, viewing platform, and interpretive center. These Garanza Rehabilitación S.L.
combined activities aimed to preserve and present the mural in its The mission of Garanza Rehabilitación S.L. was to stop the
historic and artistic context. The project was completed in 2012. deterioration of the structural materials. This civil monument
As part of the conservation component, the GCI committed was built with several sculptural elements coming from different
to carry out post-treatment monitoring for ten years. Over the origins and, even though the main material is purple marble
course of the project, a variety of monitoring techniques were used (from Montesclaros), it is considered to be a puzzle of mortars
to understand conditions, follow construction activities, and track and volumes which need to be balanced, fitted and conserved
changes following treatment. This presentation will discuss the properly. In addition, we would like to expound the challenge
monitoring carried out at each phase of the project, and elaborate that has supposed the aesthetic intervention due to unfavourable
on the objectives, techniques, and results achieved. The moni- external factors and the complexity of the organoleptic character-
toring activities include environmental monitoring; monitoring of istics of the intrinsic materials. These factors have been key points
condition before treatment; monitoring of construction activities of responsible decisions and have been discussed in a sustainable
using a time-lapse camera while the protective shelter was being and respectful way. The Cibeles Fountain is located in one of the
constructed; and post-treatment monitoring based on a compre- most contaminated areas in Madrid. We will show you the dirt
hensive monitoring plan developed by the project team to ensure caused by intense road traffic, lichen and organic remains and
the long-term preservation of the mural and the site. The objective the elimination of the embedded crust of pollution, as well as
of post-treatment monitoring is to detect and address any change the sealing cracks and the subsequent protection against external
to the condition of the mural, the integrated window shutters and factors of deterioration. Furthermore, with a preservative idea in
door, the shelter, viewing platform, and surrounding environment, mind, new measures of conservation have been established which
then report this information to the General Manager of El Pueblo affect the visual show offered by the fountain. The technique
de Los Angeles Historical Monument, who is responsible for the of the treatment carried out by the experts will be highlighted
maintenance and presentation of the site. The different methods and explained together with the products used, which have
of monitoring each had a specific objective, and were relatively been analyzed in our chemical laboratory. The Cibeles Fountain
low-cost and easily implemented. They provided valuable infor- reappears as “La Diosa Governadora” in Madrid, with the aim of
mation needed at each stage of the work to inform planning and reserving her life for the new generations.
decision-making. Going forward, the monitoring procedures put
into place will continue to aid the understanding of the efficacy
of current maintenance and management procedures, the conser- Evaluation of an Injudicious Patch Repair
vation treatment, and performance of the shelter. While not all
mural conservation projects may carry out monitoring to this
Campaign on Exposed Reinforced Concrete and
degree, the methods used can be easily adapted for use on other How to Move On
sites with similar issues. Ana Paula Arato Gonçalves, Dr. Claudia T. de Andrade Oliveira
The Vilanova Artigas Building, home to the School of Architec-
ture and Urbanism of the University of São Paulo (FAUUSP),
The Majestic Grand Goddess Cibeles in Madrid
located in the city of São Paulo, Brazil, is an iconic exposed
and its Restoration in Gauzes reinforced concrete structure that has influenced generations of
Julia Betancor, Daniel Munoz, Macarena Sanz Brazilian architects. Built between 1967 and 1969, this building
was designed by architects João Batista Vilanova Artigas and
This is an opportunity to offer a complete vision of one of the Carlos Cascaldi. Similar to many other modern historical prop-
latest treatments of restoration and conservation of the iconic erties, where reinforced concrete is exposed to the influence of
and emblematic Cibeles Fountain in Madrid, one of the most natural elements, this building has been experiencing problems
beautiful fountains in Europe. The local government of Madrid in conserving the concrete surfaces that characterize its façades.
commissioned this project, carried out by Garanza Rehabilitación In this case, the concrete surfaces are imprinted with the
S.L. After 8 weeks of treatment, 45 degrees in summer and under texture of the boards from the formwork with reinforcement
the watchful eyes of citizens, this has been one of the projects with placed very close to the surface, usually 10mm deep. After almost
greatest impact on the national media. The Cibeles Fountain, 50 years of exposure to CO2 and rain, carbonation has advanced

Architecture
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over the reinforcement initiating corrosion and causing spalls in over the coming decades or centuries of the Cathedral’s life.
the concrete. The Cathedral Church of Saint John the Divine, located in
In 2010, concerned by the degradation of the roofing structure New York City, was constructed in phases beginning in 1892.
and the exposed reinforced concrete of the façades, the school Construction of its North Transept began in 1927, as the Nave
initiated the process that culminated in the repair campaign of walls were beginning to rise. Foundation issues slowed its progress
2012-2015. The scope of this campaign was to replace the water- though, leaving the walls only 40 feet high when the full length
proofing system of the roof, substitute the deteriorated fiber- of the Cathedral opened to the public in November of 1941.
glass translucent skylights and to repair the reinforced concrete A week later the bombing of Pearl Harbor occurred, and, as
elements of the roof and façades. Despite the high cultural value America entered World War II, the construction of the Cathedral
of these elements, the professionals hired to develop and execute was halted, leaving the Transept and other areas of the building
the solutions had little knowledge on the appropriate conservation incomplete. A wood framed roof with a bitumen coating was
methodologies for historic materials, albeit they were experts in eventually installed over the partially completed North Transept,
concrete repair. Consequently, the materials and methods chosen which served as a gift shop until December of 2001, when a fire
for this intervention did not follow the criteria of compatibility broke out in its northeast corner.
and minimal loss to the original building material. The fire destroyed the Transept roof, and the heat of the fire
In an effort to avoid further risks associated with the addition coupled with the cold water from the fire hoses and winter air
of poorly specified patching material, this paper focuses on the temperatures caused significant masonry damage within the
analysis of the original concrete and the repairs executed between Transept. The resultant smoke damage throughout the entire
2012 and 2015. In order to do this, the original concrete is being Cathedral spurred an interior restoration campaign that was
studied to determine its properties and components to subsidize completed in 2008. However, apart from removing debris and
the development of criteria for future patch repairs. The scientific installing temporary protection at the top of some of the unfin-
analysis includes petrography, X-Ray diffraction, thermogravi- ished walls, little work was performed within the Transept itself.
metric analysis, SEM, chemical analysis and mechanical tests. This The area was closed to the public until 2013, when a temporary
is being complemented by a critical analysis of the entire process exhibit initiated a make-safe campaign to remove the then dete-
of the last repair campaign. riorated temporary roofing and fire-damaged stone that had been
In addition, current conditions are being mapped through exposed to the elements for over a decade. That same year, plans
3D laser scanning and the state of reinforcement corrosion will began for the installation of a new roof to cover the entire Transept,
be evaluated through potential mapping and resistivity. This will which is scheduled for completion in 2017. The new roofing
indicate whether corrosion is currently localized or widespread. If campaign incorporated the stabilization of the fire damaged stone
corrosion is found to be localized, this is an important indicator and cleaning of the façade, which exhibited significant staining
that the patches are aggravating corrosion due to an electrochem- from years of water infiltrating the tops of the walls and moving
ical incompatibility to the original concrete. out through the face of the stone.
This analysis will be used to guide future conservation efforts. This paper will discuss the repair criteria and resultant treat-
The most important conclusion is the need to include conservation ments established to address the conditions within the Transept,
goals in every step of the process, from management to implemen- which considered practical construction limitations as well as
tation. This work is part of the development of a Conservation the nature of the living Cathedral in an attempt to balance the
Management Plan for the Vilanova Artigas Building funded by a accepted loss of severely damaged material and minimal interven-
Keeping It Modern Grant from the Getty Foundation. tions to significant fabric.

Preservation in ‘Cathedral-Time’: Conservation A Comparative Study of Sacrificial Anti-graffiti

in the North Transept at the Cathedral Church of Coatings for Outdoor Marble
St. John the Divine Dorothy Cheng, Jason Church, Mary Striegel
Laura Buchner This research comparatively investigates the effectiveness and
The preservation of the North Transept at the Cathedral Church visual impact of six commercially available sacrificial anti-graffiti
of St. John Divine in New York City requires unique repair criteria coatings for use on outdoor marble heritage. Sacrificial coatings
as it is the stabilization of a modern ruin within an incomplete are reversible barrier films that can protect vulnerable surfaces
structure. A fire in December 2001 caused significant damage to from damage resulting from this type of vandalism. Graffiti
the stone in this area of the Cathedral. The criteria established to materials such as spray paint and the ever-popular Sharpie marker
repair the masonry varied from those used for typical ruin stabili- seep easily into porous marble surfaces to create stains (called
zation to permit future construction of the original Gothic design. ghosting) that are difficult to safely remove. Cleaning processes to
The conservation treatments considered the interventions to the completely remove ghosting can result in surface losses. An ideal
North Transept over the past 15 years and the significance of the coating preserves the natural color, gloss, texture, and integrity of
deteriorated elements in the context of the original design, as well marble substrates and adequately aids in the complete and safe
as the consequence of new repairs on potential future construction removal of graffiti.

2017 AIC Annual Meeting Abstracts

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The coatings evaluated in this study are PSS 20, APP-S, Protec- on each block and documenting it all to ensure contract compli-
tosil AQUATRETE®SG®, “World’s Best” Graffiti Coating, Graffiti ance and for archive purposes required developing sophisticated
Melt, and Graffiti-Pruf. Each were either chosen due to notable technologies that could withstand construction site conditions
performances in other studies, or their recommendation for use on and readily translate into archive AutoCAD drawings and reports.
other types of stone/masonry. Red spray paint and black Sharpie This paper will present the results of the tests, the means that were
marker were applied to the samples and removed according to developed to address the overwhelming scale of the work, and the
the coating manufacturer’s instructions. To evaluate the coatings’ successful results of the treatment.
aesthetic impact and effectiveness in facilitating graffiti removal
from Royal Danby marble samples, this study uses data gathered
from colorimetry, glossimetry, laser profilometry, contact angle Solid CO2 Cleaning and Patina Preservation:
goniometry, gas chromatography-mass spectrometry, and visual
assessments. Half of the samples were placed in a QUV accelerated
Case studies in aluminum and bronze
weathering chamber for 800 hours before attempted graffiti removal Elizabeth Beesley, Joseph Sembrat, Mark Rabinowitz
to assess the long-term effectiveness and reversibility of the coatings
after artificial aging. Surface pH levels of the coatings before and Cleaning large-scale architectural elements and sculpture with
after artificial aging and film thickness were also measured. This historic patinas or other decorative surfaces is challenging if these
suite of tests aims to aid conservators caring for outdoor marble finishes are to be retained while working within the constraints
heritage in graffiti-prone locations in selecting an appropriate and of outdoor sites, large artifact size, and tight budgets. Traditional
accessible sacrificial coatings for their needs. conservation treatments to remove failed coatings, corrosion, and
other accretions from these materials include the use of solvents,
high pressure powerwashing and microabrasion. These have the
disadvantages of hazards to health and the environment, and the
Conservation on a Grand Scale: The development potential for surface abrasion; it may not be feasible to scale up
and treatment of the masonry of the West Block minimally abrasive chemical or mechanical techniques to use on
of Parliament in Canada large architectural artifacts.
Dry ice blasting, a technology that originated in the industrial
Joseph Sembrat, Mark Rabinowitz, Kelly Caldwell sector, is becoming more widespread for cleaning applications. It
The West Block is one of the three major buildings on Parliament has been shown to facilitate cleaning without the surface abrasion
Hill in Ottawa, Canada that house the country’s Federal Govern- and we have used it successfully in three situations where it was
ment. Begun in the 1860’s in a Neo-Gothic style, the West Block important to retain the decorative finish of architectural surfaces.
has been modified and extended with stylistically sympathetic These were: the aluminum door surround of the first American
additions including the massive Mackenzie Tower. Conservation Airways hangar; aluminum surfaces of Cincinnati’s Union
Solutions was engaged to specify and oversee the treatment of Terminal; and the bronze fountain at the National Gallery of Art
every one of the hundreds of thousands of stones on the mass in Washington, DC.
masonry exterior during a reconstruction of the building starting The Andrew Mellon Memorial Fountain was designed by
in 2012. A team of contractors, architects, engineers, conserva- Sidney Waugh and dedicated in 1952. It comprises three nested
tors, and masons worked over 4 years to perform the assessment bronze basins nested with zodiac sign decorations. After washing,
and treatment, which was completed in 2016. Other work in the tenacious remaining mineral deposits were cleaned using CO2
courtyard and interiors will continue beyond that. blasting, selected because it does not require the containment that
After laser scanning of the building and development of a set microabrasion or laser cleaning do, and was found to be effective
of treatments for each condition was prepared by the architect and at minimizing overcleaning. A combination of adjustments in
contractor, Conservators began a stone-by-stone survey of each pressures, feed rates, and nozzle sizes was tested during the work
wall. Early in the work, which was based on extensive previous to remove the mineral deposits without removing the underlying
testing, additional tests were performed to ensure compliance with patina in most cases. Some areas of thick deposits, or those that
the specified treatments as was as to modify and improve any that were tenaciously adhered, required higher pressure and more
could be. Laser ablation was tested and found to be both more blasting time, which did result in removal of some patina.
effective and efficient at cleaning the sulfate crusts and soiling on American Airways constructed their first hangar at Meacham
the sandstone blocks and was substituted for the originally planned Field, Fort Worth, in 1933. The Art Deco main entrance is flanked
wet micro-abrasion cleaning. This allowed for improved work flow by fluted aluminum columns with an aluminum spandrel panel
as it was better suited to the challenges of the northern climate’s decorated with the AA logo. Previously, an awning above the doors
cold winters, as well as reducing water entry into the building had been removed, leaving soiling and sealant remnants; previous
and achieving a stone surface with porosity characteristics closer removal had resulted in gouges in the aluminum. We used dry
to those of the original stone. This was adopted and became the ice blasting to gently clean away old sealant and soiling. Working
largest laser cleaning treatment ever performed on a building as a on an active airfield, it was important to use a method that did
result of this testing. Other work was integrated with more tradi- not require containment and that retained the historic dark grey
tional masonry crafts in re-pointing, dutchman and other repairs, patina. Dry ice blasting was especially effective at removing the
and unit stone replacement. Tracking the recommended work silicone sealant without damaging the surrounding patina.

Architecture
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Union Terminal was also built in the Art Deco style and
uses aluminum extensively for decorative features throughout.
Different alloys and treatments were used to produce particular
colors or textures. Deplating was an early process that produced
a stabile dark gray finish; it is no longer used, since replaced with
anodized finishes. We required a cleaning method that would
retain this historic finish. We found that dry ice blasting was a
gentle technique for this and did not have the containment issues
or risk of driving water into the building that other methods do.

Incorporating Conservation Methodology and

Treatment Methods into Masonry Craftworker
Training
Roy Ingraffia
As specialized repair strategies and treatments are designed for
historic masonry structures, there exists an increasing demand
for masonry craftworkers skilled in the proper implementation
of both traditional and contemporary techniques. Conservation
and Craftsmanship have a rich history in successfully executing
approaches that address the needs of historic structures. However,
skills-based training faces challenges in the 21st century that is
unprecedented due to rapid advancements in building technology,
proliferation of materials, and economics. This has dramatically
affected the ways in which craftworkers are trained (or in many
cases not trained), how the work is executed, and the long-term
performance of the repairs to buildings of cultural significance.
While new conservation approaches are being formulated to meet
the parameters of unique situations, very rarely is the rationale
behind these repairs explained to the individuals tasked with
implementation. In situations where conservation bleeds into
the realm of construction on large-scale projects, the need for
masonry craftworkers educated in conservation methodologies is
imperative.
Within the past 2 years, the International Masonry Training
and Educational Foundation (IMTEF) has launched a Historic
Masonry Preservation Certificate Program which provides
advanced education and specialized skills training opportuni-
ties to the journeyman-level masonry craftworker. The program
introduces participants to the concepts and theories behind pres-
ervation/conservation and couples this with hands-on training
exercises. This program relies heavily on the participation of prac-
ticing conservation, engineering, and architectural professionals
as well as master craftworkers. This presentation will provide
an overview of the program requirements, curriculum, and
partnerships with craft-based, professional, and organizational
partnerships.

2017 AIC Annual Meeting Abstracts

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 BOOK & PAPER

Less is More reducing agent will ideally familiarize more paper conservators
with this relatively new reducing agent, broadening their choice
Adam Novak, Daria Keynan of stain reduction agents.
The current state of paper conservation is often a dichotomy:
respect for the history of the object and a desire to be more conser-
vative in treatment decisions often conflicts with the intrusiveness Removing Oil from Paper: A collaborative
of treatments that are used to achieve an acceptable aesthetic conservation challenge
outcome. Our onus of reversibility, while striving for perfection,
can cause the conservator to choose inaction over action. What Holly Herro, Scott Webster Nolley, Wendy Cowan, Kristi Wright
about when action is warranted? How do we quantify a “good” The application of oil-based leather dressing, while once consid-
treatment, first for the steward of the artwork, then for ourselves? ered a best practice in libraries, has had undesirable long-term
Years of study have produced a treatment corpus that has steadily consequences for bound materials. At the National Institutes
evolved, refining techniques to produce careful and successful of Health (NIH) in the National Library of Medicine (NLM),
reduction of damage. Yet, many of these techniques are invasive, a large number of leather-bound volumes had multiple applica-
perhaps unavoidably. The authors aim to show that invasiveness tions of a mixture of neatsfoot oil and lanolin dressings liberally
can be set to a scale. Working toward a theory of “in-and-out”, applied. The oils not only absorbed into the leather bindings but
treatments can be tailored to reduce the conservator’s imprint on a also migrated onto the pastedowns, end sheets, and text blocks.
work of art. This paper will compare recently available techniques The oiling process at NLM was documented by call number,
to those that are traditionally taught and used in paper conser- year(s), number of applications, and dressing formula. While
vation. For instance, overall discoloration treated with calcified investigating treatment options, NLM book conservator Holly
water versus water adjusted to specific pH and conductivity; or, Herro consulted paintings and objects conservator Scott Nolley
tidelines treated with sodium borohydride versus chelator gels. for insight on viable options for the removal of oil from artifacts.
The hypothesis is that less invasive treatments can be carried out Paper conservator Wendy Cowan joined the collaborative effort
with excellent aesthetic results. Case studies will be evaluated after to develop a treatment protocol for NLM’s oil saturated collec-
treatment with ultraviolet light and accelerated aging, as well as tions. Together, they investigated the issue and devised an effective
empirical observation. method for removal of this oil from the NIH bound paper collec-
tion. The protocol developed employs washing with alkaline
solutions, followed by alternating applications of petroleum ether
Reducing Agent Tertbutylamine Borane and acetone administered over a suction point. Oil components are
Complex and Its Use in Stain Reduction on solubilized by the alternating polarities of the solvents and pulled
Paper-Based Artifacts out of the paper by the suction. The presence of the oil in the
paper is thereby greatly reduced. The paper is then washed again
Crystal Maitland with spray applications of alkaline water to remove any remaining
water soluble discoloration. This talk will explore further details
Stain reduction is a sometimes necessary, but often ethically-
of the treatment protocol, its development and applications, and
loaded, consideration in the treatment of art on paper. From
the benefits of cross-disciplinary collaboration
the standpoint of cellulose stability, reducing agents are consid-
ered preferable to their oxidizing counterparts as they have the
potential to mitigate discolorations without further degrading the
polymer backbone of paper artifacts. While a number of oxidizing Treatment 305: A love story
agents have been tried with paper substrates, sodium borohydride Kathy Lechuga
has long been the primary, if only, reducing agent. Recent work
with gellan gum at the Canadian Conservation Institute has Treatment 305 was developed at Princeton University Libraries
brought another reducing agent to the attention of their paper by conservators Brian Baird and Mick Letourneaux. A paper
conservators: tertbutylamine borane complex (TBAB). Explored detailing this binding structure was published in volume 13 of the
by Italian researchers and conservators since the late 1990’s, Book and Paper Group Annual in 1994, titled “Treatment 305:
borane complexes show great promise as an additional tool for A Collections Conservation Approach to Rebinding.” Essentially,
reducing paper discolorations, but as of yet seem little known in a tight joint binding with a natural hollow and minimal spine
North America. Several disadvantages of sodium borohydride (its linings was developed that incorporated all of the positive aspects
tendency to evolve bubbles of hydrogen gas, the high working of bindings from this era with none of the negatives. The Treatment
pH) are not present with TBAB, which shares borohydride’s 305 structure provides an incredibly flexible and durable binding
advantage of being soluble in both alcohol and aqueous systems. that opens very flat and places minimal strains on the book during
This paper will present the use of TBAB in the treatment of several use. At The Indiana Historical Society, a substantial portion of our
watercolours by Canadian artist Lucius O’Brien, as well as on printed book collection dates from the late 18th through to the
didactic paper artifacts. A discussion of the working properties, mid 19th centuries. While many of these books exhibit typical
as well as the perceived advantages and challenges of using this damage, such as detached boards and split spines, there are a fair

Book & Paper

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 BOOK & PAPER

number of them whose bindings are either non-existent or so that make them complicated to categorize beyond their collection
degraded that the books need to be rebound. We digitize a fair designation?
amount of our collection material and patrons frequently use our In a University system with 24 million collection items, over
books for research, so a flexible, durable binding that incorporated 25 subject libraries, and only four full time conservators and
aspects, both aesthetic and structural, of late 18th and early 19th technicians, the Medium Rare workflow provided an exciting
century bindings was needed. Treatment 305 seemed like a logical opportunity for a small conservation staff to work together to have
solution to this dilemma, especially if a few adjustments could be a wide reach. As we began the development of the new workflow,
made to tailor the structure, adhesives, and covering materials to a similarities with existing workflows emerged. Several aspects of
more special collections approach to rebinding. Special Collection Conservation carried over as important logis-
In this presentation, I will detail two treatments I performed tical and ethical considerations for the new workflow, including
using the Treatment 305 structure adapted for special collections transportation procedures, documentation methods, and frequent
materials. The first book treated was a publication of pre-statehood communication with collection managers. However, we also
Acts and Laws which no longer retained its original binding. The saw the need to streamline certain elements of the conservation
book was washed, re-sized, re-sewn, and rebound using most of treatment process to save time and build efficiency, much like
the original Treatment 305 steps detailed in Baird’s and Letour- our general collection repair practices. This was accomplished by
neaux’s article. The second book treated had a strange “binding on adding a new, short-form documentation interface to our existing
top of a binding” structure which included a total of four boards database, and truncating our photo-documentation process. It
that had completely failed as a result of previous water damage. also meant making hard, but clear and firm decisions on what had
This treatment involved much discussion with the curator and a to be excluded from the workflow, such as any item that required
decision was made to construct a binding that used most of the the use of chemical solvents or the integration or specialized
book’s oldest elements in order to be sympathetic to its original working of leather or parchment.
appearance. The book was washed to remove staining and heavily Now, as we continue to develop Medium Rare Conserva-
fragmented printed cover papers were lifted from the original tion, we are beginning to observe other benefits. Our already
boards, lined, and incorporated onto the new boards. The spine strong working relationships with collection managers have been
piece was made from a kozo fiber paper and linen laminate and augmented with close communication and a quicker turnaround
toned to match a fragment of the original leather discovered under of treated items. Additionally, our capable technicians are now
a turn-in. The Treatment 305 structure was used for rebinding utilizing their skills on expanded treatment opportunities rather
with a few modifications made to accommodate the incorporation than being limited to the batch work of general collections.
of original elements and this book’s smaller size. In both cases, the Conservators can continue to focus on items that need a higher
final bindings resulted in extremely flexible and aesthetically satis- level of care and attention while also simultaneously supervising
fying books that can easily withstand frequent use and potential the treatment of collection items identified as Medium Rare.
future digitization on a book scanner. Treatment 305 proved to be Slowly but surely, we are also beginning to see a rise in the number
an adaptable and expedient solution to the treatment challenges of collections served. With a deep discussion of the goals, the
presented by our late 18th to mid 19th century printed book parameters, the benefits and, of course, the challenges involved
collection. in creating and implementing a new conservation treatment
workflow, this presentation aims to offer a possible model for
other institutions who face similar issues within their collections.
Medium Rare: An innovative treatment approach Moreover, we also desire to solicit feedback in order to continue
to grow and improve what we hope will be a successful addition
to the space between special and general to our preservation program, and ultimately, an excellent way to
collections magnify our scope and impact on the library collections in our
Quinn Ferris care.

Faced with a dwindling amount of general collection items in

need of repair, in February 2016, the conservation staff at the
Line up, Back to Back: Restoration of Korean
University of Illinois Library began implementing a new treatment
workflow, titled “Medium Rare Conservation.” The motivations Buddhist Sutra in accordion book format
for this new workflow were clear; in addition to making the best Hsin-Chen Tsai, Tanya T. Uyeda
use of the skills and newly available time of the staff technicians,
this “in-between workflow” could potentially allow Conservation East Asian Buddhist Sutras are sometimes mounted in accordion
to serve collections more widely by making treatment available book format and are commonly seen in China, Japan, and Korea.
to objects that would otherwise be difficult to prioritize given Sutra text is written mostly in gold or silver on indigo dyed paper.
competing needs and limitations. Furthermore, we hoped it The indigo papers were either brush or vat dyed, lined with layers
would give us a chance to address a long-existing need in Library of paper, and then joined together as needed. A long, horizontal
and Archives Conservation—namely, how do we treat items that section of indigo paper was folded into narrow pages, and wooden
have exceptional material, historical, or condition characteristics or paper covers were attached to the ends.
A Korean Buddhist sutra, Dirghagama Sutra, in ten-leaf

2017 AIC Annual Meeting Abstracts

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 BOOK & PAPER

accordion book format with both top and bottom paper covers Our research was carried out as part of an ambitious multi-year
was brought in for treatment to the Asian Conservation lab at the technical study of the Art Institute of Chicago’s holdings of over
Museum of Fine Arts, Boston. Many of the condition problems of 200 graphic works, 8 paintings and 3 sculptures by Gauguin, in
this sutra were likely linked to its function as a personal religious anticipation of the museum’s online scholarly collection catalogue
item. For example, damage and losses due to excessive handling, (launched in November 2016). Art historians and conservation
an embossed circular impression likely from a vessel of some scientists partnered with us to present a richer and more accurate
sort, substantial dirt and soiling, unknown attachments, crude picture of Gauguin’s production, taking into consideration the
repairs (tape), etc. Major treatment involving the disassembly and findings of our technical studies and the results of our treatments,
re-mounting of the sutra had to be considered in order to stabilize incorporating them into their descriptive analyses and commen-
the sutra and permit its safe display. tary on the artist’s works in various media. The exhibition, Paul
This paper presents the examination, documentation and Gauguin: Artist as Alchemist, organized by the Art Institute and
treatment of a Korean Buddhist Sutra. Treatment included surface the Musée d’Orsay, celebrates this collaborative effort and will
cleaning, structural stabilization, disassembling, tape removal, focus on the artist’s response to materials and process, resulting
infilling, lining and mounting. Conservators overcame several in what the dealer and art collector Ambroise Vollard called the
challenges such as: unifying the size of pages, infilling the missing artist’s “little marvels,” and will draw upon all of the new research
section of the folding areas, combining the front and back with into Gauguin’s working methods. https://publications.artic.edu/
folding lines aligned. During the course of treatment, several gauguin/reader/gauguinart
interesting discoveries were made involving the interior structure
of the sutra, as well as the materials used to create the object. It is
hoped this case will be useful for the future conservation of other Sidewalks, Circles, and Stars: Reviving the legacy
similar sutras mounted in accordion book format.
of Sari Dienes
Samantha Sheesley
Challenging the Myths Surrounding Paul History is being re-written to include critical artists that have been
Gauguin’s ‘Little Marvels’ forgotten over time. Conservators play an important role in the
revitalization of neglected objects that exemplify such visionaries.
Harriet K. Stratis, Mary Broadway
Sari Dienes is an unsung, yet pivotal, female artist of the 20th
“It was a fact that Gauguin turned everything that fell into his century. She was an innovative artist who countered self-expressive
hands – clay, wood, metal and so forth – into little marvels.” Abstract Expressionism with images of found objects stemming
–Ambroise Vollard, from Recollections of a Picture Dealer from an acute awareness of her environment. She created large-
scale rubbings, often over 12 feet in length, on a medical material
We are all familiar with alluring tales of an artist’s “muted” palette, called Webril. Jasper Johns recalled her uninhibited nature as she
the “golden” patina imparted to prints and drawings by their unrolled the Webril in the streets of New York City and transferred
underlying sheet tone, or the importance ascribed to a particular the textures of manhole covers and subway grates with an inked
paper’s “enhanced texture.” In this way, the effects of aging are brayer in the early hours of the morning. Both Johns and Robert
recast as conscious artistic choices bolstered by theoretical aesthetic Rauschenberg were greatly inspired by Dienes, describing her as a
underpinnings that ignore evidence to suggest that certain beloved principal influence. After Dienes introduced the two, Johns and
works of art may have appeared whiter and brighter when they Rauschenberg collaborated on installations of the Bonwit Teller
were first produced. These canonized art historical descriptions department store windows to include Dienes’ sidewalk rubbing
can take on mythic proportions and propagate misinterpretation, series along with one of Johns’ flag paintings and one of Rauschen-
but they may not reflect the most current understanding of an berg’s first combines.
artist’s materials and techniques. Only in recent decades has there Despite her impact, museums did not invest in Dienes’ work
been a new effort in art historical scholarship to situate artworks in the 20th century. However, friends of Dienes recognized her
within the continuum of time and space; to consider their physical significance and conceived the Sari Dienes Foundation in New
properties as organic and inorganic materials that alter with age, York. There, her rubbings and sculptures, works in process,
exposure to light, and mistreatment. materials, and archives are housed with the best of intentions.
This talk will present a number of graphic works within Unfortunately, many of Dienes’ most important pieces have dete-
Paul Gauguin’s production that have been misread in the past. riorated and become too fragile to be considered for acquisition
Careful study, scientific analysis, and insightful re-colorizations or exhibition by many institutions. The Virginia Museum of Fine
augment conservation treatment decisions to present many of the Arts recently acquired two rubbings by Sari Dienes, one of which
artist’s sketches, wood-block prints, and transfer drawings anew. appears in photographs of the Bonwit Teller windows designed by
Treatments in which discoloration products are washed away Johns and Rauschenberg. Sadly, both pieces suffered numerous
and twentieth-century mounts are removed lend themselves to condition problems rendering them unfit for exhibition. These
new, and more accurate, observations on Gauguin’s process and seminal pieces were not acquired in spite of their condition, but
the results he attained when using unconventional materials and because the museum hoped to right certain wrongs of time. The
methods to achieve his aesthetic goals. delicate Webril supports were creased, torn and lacked physical

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 BOOK & PAPER

integrity. Numerous spots, stains, and accretions were scattered published a study using ionic fixatives to improve the water
throughout due to corrosive staples, acidic housing materials and fastness of ionic ink dyes when performing aqueous deacidification
poor storage conditions. One piece was mounted to canvas which for archival materials. The study demonstrated that water-soluble
further contributed to unsightly discoloration, planar distor- ionic dyes could adhere more strongly onto the paper when oppo-
tions, and physical insecurity. The novelty, scale, translucency, sitely charged fixing agents were applied to form almost insoluble
and fragility of the objects demanded innovation throughout the complexes. The chemical bonding between the dye and the fixing
project. agent is permanent and non-reversible. Leroy and Flieder (1993),
A collaboration between Samantha Sheesley, VMFA Paper Blüher et al. (1999), Porto and Shugar (2008) followed with more
Conservator, Sarah Eckhardt, VMFA Curator of Modern and research comparing various commercially available ionic fixatives.
Contemporary Art, and Barbara Pollitt, Curator of the Sari Dienes In this study, 13 different ionic fixatives were tried: a suspen-
Foundation, identified key questions surrounding the artist’s sion of Mesitol NBS and Rewin EL, Appretan N 92100, Cartafix
work. The goal of the investigation was to better understand FF, Cartafix SWE, Cartafix WA, Cartafix WE, Cassofix FRN-300,
Dienes’ materials and techniques through analysis of the objects Nylofixan HF, Catiofast 159(A), Catiofast 269, Catiofast 2345,
and contextual clues found in the archives. The pooled informa- Lupamin 9095, and Polymin PR971L. The samples were provided
tion guided stabilization and compensation efforts culminating in by the U.S. branches of three different companies--Achroma/
the display of objects previously thought to be unsalvageable. As Clariant, BASF, and Neschen. The study focuses on observing the
Dienes claims her rightful spot on the walls of museums and in the interaction between these fixatives with various writing media and
records of art history, this timely endeavor honors her philosophy paper and finding application methods that are easy and relatively
and aesthetic while restoring and preserving the artifacts crafted risk free.
by her hand. The VMFA’s findings will benefit multiple institu-
tions, conservators and scholars as interest in Sari Dienes work
heightens through various exhibitions worldwide. The Challenge of Scale Revisited: Lessons learned
from treatment and mounting an exhibition of
160 illuminated manuscripts
Ionic Fixatives on Water-Sensitive Media for
Aqueous Treatment Alan Puglia, Debora Mayer

Soyeon Choi This presentation will describe changes incurred to the Medieval
and Renaissance manuscripts from their use in the large-scale
The goal of this study is to experiment with various ionic fixatives exhibition “Beyond Words: Illuminated Manuscripts in Boston
to aid aqueous treatment of water-sensitive media on paper. Collections.” The findings will be used to evaluate and refine the
Water-sensitivity of media can be attributed to different causes. treatment protocol for unstable media in illuminated manuscripts
In general, ionic dye molecules are dissolved into water; particles developed at the Weissman Preservation Center, Harvard Library.
in pigment-based media are dislodged or dispersed in water due In addition, the presentation will offer valuable lessons learned
to a softening of the binder or the lack thereof. The nature of from staff management to mount-making for this exhibition,
the paper support (the length of fibers, density, thickness, sizing unprecedented for its kind in scale. The presentation also serves
materials, coating, and degree of aging) is also a factor in media as a critical companion to “The Challenge of Scale: treatment of
sensitivity during aqueous treatment. When planning the use of 160 illuminated manuscripts for exhibition,” presented at the
a fixative, the important first step is to determine whether to fix AIC annual conference in Montreal (2016). In preparing for
the media physically or chemically, and temporarily or perma- installation, cradle making and strapping techniques previously
nently. The choice is based on the main cause of the given water- established for Houghton Library were evaluated and modified
sensitivity: colorants, binder, additives, or the characteristics of to suit the three exhibition venues: the Isabella Stewart Gardener
the paper substrate. Also, one has to decide what degree of change Museum, the McMullen Museum of Art, and Houghton Library.
is acceptable, based on the historic or artistic value of each object. Our method of making life-size drawings for oversize cradles
Sometimes, a small amount of color shift, or even a slight loss of for the Plexiglas vendor will be shared. Traditional strapping
media intensity, can be considered acceptable if the objects are approaches were examined, materials tested for suitability, and
archival in nature and their condition is to be greatly improved by our approach using nylon monofilament thread will be presented.
the pending washing treatment. Whereas certain objects, particu- Nearly all of the framed objects were mounted with a non-adhe-
larly works of art, require minimal or no change during treatment; sive attachment. Our method of compiling condition checks and
otherwise, the treatment is not justifiable. team approach to installation will also be discussed.
B-72, wax, and BEVA are some of the frequently tried fixatives Rather than consider the project complete with installation,
based on physical holding of media. These physically-holding the senior conservators will make this an opportunity to criti-
fixatives are to be removed after the desired aqueous treatment cally review a selection of manuscripts following the exhibition.
is completed. Cyclododecane, on the other hand, is a physically Beginning in January 2017, approximately 10% of the exhibited
holding fixative that does not require a removal step because of its manuscripts will be selected and re-examined for changes. Our
sublimation characteristics. The use of ionic fixative is relatively treatment protocol included all procedures, judgment criteria,
new. In 1988, Karl Bredereck and Almut Siller-Grabenstein

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 BOOK & PAPER

and a detailed documentation method using images marked water. The inpainting fills were easily reversed with minimal
in Photoshop. Conservators will closely compare the pre- and moisture and left little residue behind when removed. Steichen’s
post-exhibit condition for each manuscript by which new or working methods and process were explored. His underdrawing
resurgent areas of insecure media will be clearly apparent. This materials and his use of a compass were observed. Steichen often
level of review will allow us to determine if the protocol provided created layers of opaque colors until he achieved the desired color
adequate stability for the rigors of exhibition including handling relationships in the drawing. When possible, these underlayers
by researchers, imaging services, packing and transport, as well as were digitally reconstructed. As little is known about Steichen’s
installation. The data gathered will make it possible to identify materials from this period, scientific analysis was carried out to
what worked and what didn’t, evaluate the accuracy of our time determine the paint binder and pigments, especially those in the
estimates, inform and refine the consolidation protocol, improve flaking paint.
our project management, and ultimately refine our best practices
in preserving the manuscripts in our care. In sum, the large scale
of the “Beyond Words” exhibition significantly affected all aspects Re-engineering Broken Book Spines
of the project. The team-based approach used for conservation
treatment continued throughout mount fabrication, condition Jana Dambrogio, Ayako Letizia, Mary Uthuppuru, Brien Beidler,
checking, and on-site installation work. It required the involve- Katherine Beattie, Emily Hishta Cohen
ment of conservators with varied backgrounds and approaches to
Books provide a unique set of considerations for the conservator,
agree on standards and share workloads in order to complete high
as they seek to preserve not only the volume’s historic record but
quality work in a reasonable time frame. We are keen to share
in most cases also its functionality. Often, the fragility of the
what we have learned with the wider conservation community.
historic materials makes it difficult to maintain function without
sacrificing the object’s history, limiting a future researcher’s ability
to ask and answer certain questions. Thus, employing a treatment
The Story Not Told: The examination and that can improve a book’s accessibility while protecting its physical
treatment of Edward Steichen’s Oochens historic record is ideal. For more than fifty years, variations of
a spine reback have been the primary option to repair books
Linda M. Owen, Kathryn Morales and their spine covers. The technique is effective but invasive,
Edward Steichen (1879-1973) is best known as a photographer, requiring the conservator to lift or remove original components to
but early in his career he was equally devoted to painting. Stylisti- anchor newly added repair materials.
cally, his paintings related closely to his photographic output in The treatment we propose is an innovation in book repair that
their dark, atmospheric manner. In the early 1920’s, however, will offer conservators an alternative. Originally developed by Jana
Steichen began experimenting with a much bolder Modernist Dambrogio over 15 years ago while studying and conserving two
style that used flat planes of brightly colored geometric shapes. large and diverse historic collections, this treatment is tailored for
Steichen painted a series of 15 drawings depicting the Oochens, books with broken spines or detached boards. The Re-engineering
inhabitants of an imaginary republic, that were composed of three Broken Book Spines research group (RBBS), formed two years
triangles following the Golden mean, the relationship between ago, performed variations of this treatment on more than 20
the extreme and mean ratio. Intended as a children’s book, the books found in the General and Special Collections of the MIT
Oochens were never completed or published. In 1923 Steichen Libraries. The group will present information about how the treat-
had an epiphany and decided to abandon painting as a medium; ments have fared on the books over the last two years including
he then systematically destroyed almost all of his Modernist the benefits and limitations of the procedure. Often the damage
paintings. Remarkably, the Oochens were spared and survived in occurs at the “joints” and “hinges,” the flexible areas that allow
his personal collection. the front and back covers to flex open and close. The repair uses
Bequeathed to the National Gallery of Art, the Oochens methyl cellulose, wheat starch paste, various weights of Japanese
varied in condition. The majority were stable, with only minor tissues, and sometimes textiles for badly damaged or heavy
flaking, but three exhibited severe flaking and losses to the books. This treatment is delicate yet sturdy, and though originally
tempera paint layer. The Oochens required consolidation and an developed for non-circulating special collections, recently it has
inpainting strategy that would match the matte appearance of the also been implemented into circulating collections. With its versa-
paint and be as reversible as possible. A technique was developed tility, noninvasiveness, aesthetic sensitivity, and time and material
using toned microcellulose powder sprayed with an external mix economy, this repair results in a custom-made, functional, and
airbrush, based on a process pioneered by Elissa O’Loughlin and historically-conscious treatment that serves well for both special-
further developed by Rebecca Pollack. Originally the cellulose and general-collections care.
powder was used to cover foxing spots and stains or as a paper
fill. In this application, the cellulose powder was toned with fluid
acrylics to match the media. The cellulose and acrylic slurry was
sprayed on a base coat of methyl cellulose, forming a thin, pliable,
self-adhesive film. The thin sheets of inpainting material were
cut to shape, positioned, and adhered in place with de-ionized

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 BOOK & PAPER

Art on Paper Discussion Group discussion and examination of similar prints or related states
to establish treatment goals. The subjective treatment decisions
mirror decisions routinely made by conservators, demonstrating
that all items, even those issued as multiples, necessarily be
Multiple Perspectives on the Treatment considered and treated as “unique.”
of Multiples: Innovative thinking on the
conservation of prints Editions and Treatment: Van Gelder Zonen, Arches, Rives,
Montval, MBM, …
Moderators: Rachel Freeman, Cyntia Karnes, Harriet K. Stratis
Sarah Bertalan
Prints, often produced in large numbers, present challenges for
the conservator who seeks to treat them, usually in isolation Ms. Bertalan will discuss how the experience of treatment
from the rest of an edition. While some examples have been is enriched when a conservator has the opportunity to treat
stored within the folds of a portfolio never to see the light of day, multiples in a focused and systematic way. Multiples afford study
others have been significantly altered by long-term display, poor and documentation of numerous examples of an identical paper,
storage conditions, or previous restoration. Once dispersed, their manufacturing process and year of production. The only variable
condition can span the gamut from pristine to severely damaged. that then informs appearance is history. Ms. Bertalan will draw
How then does the conservator approach the treatment of a from her knowledge of prints from the 19th and 20th-centuries,
single isolated example from within a group of multiples, faced including multiples on Van Gelder Zonen, Arches, Montval,
with the fact that the work may appear far different today than Rives, MBM and other fine papers used for printmaking to
it did when first printed? Can we elucidate an artist’s intent or discuss their variable condition changes, whether they be subtle or
surmise the original appearance of a print through comparison extensive, and how they inform her treatment decisions.
with related works? Likewise, the multiple may have sustained
damage unique to it alone, appearing far different from others Striking a Harmonious Tone: Wet Treatment of a Modern
within a series or portfolio. Approaches to treatment can be chal- Print Edition
lenging when one or more prints among a group do not look Anisha Gupta
the same, although originally intended by the artist to be seen Ms. Gupta will present her recent treatment of twenty-four litho-
together. Is there an implied imperative to unify works that were graphs that comprise Ben Shahn’s (American, born Lithuania,
meant to be viewed in a series? 1898 – 1969) Rilke Portfolio (1968). The prints were severely
This interactive discussion will explore the complex consider- discolored to varying degrees, and the curators felt that the
ations given to the conservation and display of multiples that are group was unfit for exhibition side-by-side. This necessitated
often dispersed among public institutions and private collections individualized bathing and light bleaching to lighten the paper
in which their condition, appearance, and visual impact may differ tones uniformly in batches, and reviewing the series with the
enormously. Speakers will examine how the treatment of a print curators after each bleaching cycle until acceptable paper tones
is shaped not only by its context within an edition or a portfolio, were reached across the group. Ms. Gupta took spectrophotom-
but also by the sometimes-divergent expectations of curators and eter readings before and after treatment to quantify the color
collectors for its display among related works. changes and to compare quantitative assessments to qualitative
Enlivened by the discussion that will follow, session partici- visual observation.
pants will be asked to contemplate the benefit of looking at
multiple print editions before establishing treatment goals for an
individual print, the usefulness of technical or material informa- Library Collections Conservation
tion that may be brought to bear when considering certain treat-
ments, and the relevance of restoring an artist’s intent well after Discussion Group
prints within an edition or part of a portfolio have been dispersed
far and wide.
Unexpectedly Expert: Diversifying your skills to
Singular Problems in Similar Prints: The Treatment of cover all the bases
Three 15th-Century Engravings
Judith (Judy) Walsh Moderators: Angela Andres, Sonya Barron, Anahit Campbell

Ms. Walsh will present three disparate approaches to the treatment In keeping with the general meeting theme of Innovation in
of 15th -century prints. These prints, each by a different artist Conservation and Collection Care, the Library Collections
or workshop, share similar dates of creation, material features, Conservation Discussion Group (LCCDG) will feature a panel
and types of damage. However, the constraints imposed by their of speakers, comprised of emerging, mid-career and highly experi-
histories, the context of their acquisition and proposed display enced conservators, who will share their experiences facing a variety
called for divergent methods to compensate for significant losses. of professional challenges that fell outside of their immediate area
Ms. Walsh will elaborate on the particular importance of collegial of expertise. In these short talks, listed below, panelists will present
examples of single-item treatments, collection care projects,

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 BOOK & PAPER

innovative ideas for lab workflows and collaborative strategies, How Do I Build This?
as well as theoretical and ethical considerations inherent in their Justin P. Johnson
decision-making process. The presentations will be followed by
a moderated question and answer discussion session between the Description: This presentation will relate the experience of
panelists and audience. University of Washington staff in becoming fluent in the language
of construction, engineering and design. Specific strategies for
overcoming the language barrier and effectively communicating
3-Dimensional Objects in The Archives unique equipment design goals will be shared.
Sonya Barron
Description: This talk will focus on preservation concerns and What Could Possibly Go Wrong?
strategies for a variety of 3 dimensional materials in an archives Susan Russick
setting, including perishable items. Specific case studies will be
supplemented by tips and explanations from a conservator of Description: Do I have the knowledge, skills, and logistical ability
ethnographic and archaeological objects, with whom I was able to treat that object? What will happen to it if I don’t? A series
to consult. of mini-case studies illustrates the risks and benefits of treatment
for various objects. In some cases I sought help, while in others I
Reaching Out: Getting Help When You Need It plunged in myself, and in many I gained the wisdom of hindsight.
Deborah Howe
Description: Focusing on two conservation projects which incor-
porated outside help and input, this talk will explore the different Book & Paper Wiki Session
approaches to begin and execute treatment on a collection of
papyri and a large Antiphonal.
Please join us to hear updates on the progress of the BPG Wiki.
Attendees will be invited to provide input to shape the develop-
ment of the Wiki for the coming year. There will be a demon-
To Catch a Tiger: Caring for Stitched Treasures in the Stacks stration of new and improved Wiki pages, followed by an open
Elizabeth Stone, Janet Lee dialogue.
Description: When confronted with a delightful group of dolls At the 2016 BPG Wiki Discussion Session in Montreal, we
and fabric slippers, Beth sought the guidance of Janet, relying on sought feedback on the removal of the numbered outline format.
available technology for long-distance communication. Together There was overwhelming support for the idea. We made a template
they developed examination and storage methods that best suited to standardize formatting going forward, and most of the pages
these textile objects in a library collection. now reflect the change. The group agreed that regular calls for
bite-sized contributions would encourage participation. We have
been following through on this idea with great success.
Developing Leadership Skills in Conservation
The 2017 BPG Wiki Discussion Session will be an opportu-
Ashleigh Schieszer
nity to demonstrate the 2016-2017 changes and additions and
Description: As a young professional with new management facilitate a discussion of what to focus on in 2017-2018. The
responsibilities, what do you do if you find yourself well versed feedback that we receive during these sessions is invaluable in
in treatment and bench work, but lacking in management and planning for the future of the BPG Wiki and maintaining an
supervisory skills? In this talk, resources and personal discoveries engaged and active membership.
will be shared along with examples of management challenges and
the innovative solutions used to overcome them.

I Learned it by Watching You!

Suzy Morgan
Description: Thanks to the wonders of modern technology, it’s
now easier and cheaper to make videos - and the field of conserva-
tion and preservation is finally starting to embrace this medium
of the moment. I discovered a variety of videos that helped me
improve my practices as a conservator, and learn how to safely
care for some of the items in my care that were outside of my
knowledge area. I also was able to use video as a teaching medium
while doing a week-long conservation and preservation workshop
in Myanmar, and will share tips on what worked and what needed
to go back to the drawing board.

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 COLLECTION CARE

Unhappy Couples: Degradation of microscope Environmental Performance Assessments of

slides due to their mounting media Packing Cases Employed by the J. Paul Getty
Mariana Di Giacomo Museum
Natural history collections are known to have used diverse forms Vincent L. Beltran, Kevin Marshall, Rita Gomez
of coatings due to the varied nature of their specimens. In the case The rise in loans of cultural heritage artifacts between institutions
of micro-scale organisms and histologic samples, organic coatings has increased their exposure to the transportation environment.
have been employed to mount specimens to observe them under Though the duration of travel for a loaned artifact is usually brief
microscopes since the first half of the 19th century. Over time, and the artifact is buffered from the exterior environment by its
various materials have been used to improve either the stability of packing case, the potential exists for exposure of the artifact to
the mount or the clarity of the specimens for observation. Conse- temperature and relative humidity conditions far exceeding the
quently, there are numerous formulas for every substance employed range designated by loan agreements, or episodes of shock and
in microscope preparations. Some of these materials have begun to vibration among the greatest encountered in an artifact’s lifetime.
degrade, leading to the loss of very important specimens. In some These environmental conditions may cause physical responses
cases, the salvage of degrading specimens involves remounting the such as material expansion or contraction or impact from an
specimen. This poses problems because many of these mounting extreme force that can damage an artifact. The Managing Collec-
media are of unknown composition, making it difficult to choose tion Environments (MCE) initiative at the Getty Conservation
a solvent that would remove it without damaging the specimen. Institute (GCI) largely focuses on the control and management
A major survey is underway at the Smithsonian’s National of collection environments in museums. However, an object’s
Museum of Natural History (NMNH) to identify mounting transient period between venues represents an extension of the
media that have held up well over time, or media that are museum environment and, as such, research into the transporta-
degrading in order to determine the most appropriate treatment tion environment is included in the MCE initiative.
options. Meetings with the collections managers and curators have Art packing and transportation has previously been an area
determined the collections to be surveyed within the museum. of study, highlighted by the seminal Art in Transit conference in
During examination, important features like crystallization of the 1991, and this work has been instrumental in raising the level of
mounting medium and the level of degradation are being docu- packing worldwide. With the continued development of packing
mented. To date, over 300,000 slides have been surveyed from the techniques and sensor technology, particularly with respect to
Botany, Amphibians and Reptiles, Fishes, Birds, and Entomology shock and vibration, it is an opportune time to reassess the perfor-
collections. Of the total, less than 20% show signs of degradation. mance of packing cases currently in use. Though the majority of
However, these numbers do not reflect the real conservation museums depend on assistance from outside consultants to pack
issues. From the nearly 28,000 slides observed in the Botany museum artifacts for transport, large museums typically have
collection, only 3% show deterioration of the mounting medium, experienced preparations staff with access to a range of suitable
if yellowing of Canada Balsam is not considered, given that packing materials.
it does not affect observation under a microscope. Of the over The Preparations department at the J. Paul Getty Museum
96,000 slides examined in Amphibians and Reptiles, around 6% (JPGM) has earned a reputation for employing high quality cases
show signs of deterioration. Most of these deteriorating slides for the transport of loaned artifacts. They regularly use a double
are uncatalogued, meaning that the majority of the cataloged crate packing technique, particularly for three-dimensional pieces
specimens show no deterioration. In the Fish collection, of the and panel paintings. In addition to cushioning foams common
close to 27,000 slides reviewed, around 65% have issues. Some of in the packing industry, Getty preparators also employ custom-
the slides that are in perfect condition are a result of remounting designed Sorbothane rings that protect an artifact by absorbing
efforts, meaning that they had badly deteriorated, suggesting that shock and isolating and dampening vibration. Despite the
the actual numbers are even higher. The collection with the least prominent standing of the JPGM’s Preparations department, a
deterioration is Birds, with only 9 crystallized slides out of 3,244. systematic assessment of the environmental performance of its
The Entomology collection has been partially surveyed. Of the cases has been lacking. Working alongside the Preparations team,
over 139,000 slides observed, only 7% show deterioration. The as well as with the various conservation departments at the JPGM,
most problematic mounting media for all the collections so far the GCI’s MCE initiative has conducted numerous in situ studies
have been paraffin, Permount and Hoyer’s. In addition to observa- examining temperature, relative humidity, shock, and vibration
tion of the slides, the mounting medium preferred in the Botany conditions for a range of packing cases used by the JPGM to
Department, Thermo Scientific™ Shandon™ Synthetic Mountant transport artifacts. Monitoring multiple packaged artifacts or
was tested at the Smithsonian Museum Conservation Institute mockups during the same transit also provided an opportunity
using ATR-FTIR. It provided a very good match to a copolymer to directly compare case performances when subject to identical
of methyl methacrylate and butyl acrylate and showed additional environmental input conditions. While the bulk of monitoring
peaks that may be attributed to a butyl phthalate. This mountant occurred during ground or air transits, special attention was given
is extremely similar to Acryloid/Paraloid B-48, which would to the so-called “first mile/last mile” transitions, as handling of
explain why after 40 years, the slides mounted with it show no packaged artifacts at either venue or at intermediate junctions
deterioration. is often thought to pose added risk of damage. It is envisioned

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that this environmental assessment protocol may be applied to potential future research needs will be discussed, and possible
assess transport cases used by other cultural heritage institutions, avenues for publication and dissemination of the information
particularly those which are commercially available. presented will be examined. The authors propose an hour for this
panel overall; 30 minutes for presentations and 30 minutes for
discussion. Rachael Perkins Arenstein (Conservator, A.M. Art
Evaluation of Climate Control in Yale Conservation, LLC) will speak on the use of oxygen scavengers.
William Donnelly (Conservation Assistant, Winterthur Museum,
Peabody Museum of Natural History: Energy Garden & Library) will speak on the use of a CO2-based system.
consumption and risk assessment Arlen Heginbotham (Conservator of Decorative Arts & Sculpture,
Lukasz Bratasz, Tim White, Catherine Sease, Nathan Utrup, Susan The J. Paul Getty Museum) will speak on the history of anoxic
Butts, Richard Boardman, Stefan Simon treatment at the Getty and recent modifications to a nitrogen-
based system. Bret Headley (Owner and Principal Conservator,
Yale’s Peabody Museum of Natural History (YPM) has a long Headley Conservation Services, LLC) will speak on the develop-
tradition of improving the environmental conditions for preserving ment and use of a nitrogen-based system. Eric Breitung (Research
its collection of more than 13 million objects. However, results Scientist, The Metropolitan Museum of Art) will speak on the
are unexpected and far from what the museum hoped for as was development and use of an argon-based system.
shown by an analysis of the current environmental conditions in
three museum buildings, built in 1925, 1963 and 2001. Analysis
of energy use for climate control showed that the Environmental
Studies Center, the most modern Peabody Museum building, is
the least energy efficient of the three and one of the least energy
efficient building at Yale University. Therefore, YPM decided to
reevaluate its current climate control strategy towards a more
practical and responsible approach, which takes into account the
historic character of the buildings and the high cost of climate
control. The assessment of climate related risks to collections was
the main element in the transformation process towards a new
strategy of climate control. It allowed preservation priorities of
the YPM collections to be identified. Finally, guiding principles of
climate control were proposed that meet the preservation targets
of the museum’s vast collections and at the same time reduce
energy consumption and lower CO2 emissions.

Panel Discussion: A Review and Comparison of

Anoxic Treatment Methods for Pest Management
Elena Torok, Laura Mina, Eric Breitung
It has been over ten years since Shin Maekawa and Kerstin Elert
published The Use of Oxygen-Free Environments in the Control of
Museum Insect Pests (Getty Conservation Institute, 2003), which
detailed the assembly and use of a nitrogen-based system for
anoxia. Although conservators and scientists continued to develop
new methods, materials, and technologies for anoxic treatments
in the past decade, little of this information has been published.
Each of the five panel speakers has been involved with the devel-
opment and/or use of a different type of anoxic treatment setup
at their institution or private practice. Variables for each of these
systems range in the inert gas used, technical details of gas delivery,
treatment time involved, materials associated with setup, and costs
associated with assembly and maintenance. After a short introduc-
tion by the moderator, each panelist will briefly present his or her
anoxic system.
Presentations will focus on the practical details, pros, and cons
associated with each system’s assembly, use, and cost. A moderated
discussion period will follow, where systems will be compared,

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The Ballad of Little Bill: Collaboration in time- and policies around the care of artwork component files in the
based media conservation system, defined as the DAMS Time-Based Media Art Package,
with approved package definitions and workflow checklists used
Daniel Finn, Ariel O’Connor by all of the participating museums. In developing the DAMS
TBMA suite of preservation actions, staff members across the
The Smithsonian American Art Museum (SAAM) owns and
Smithsonian consulted the digital preservation guidelines outlined
displays a growing collection of time-based media and digital
in ISO 16363, A Standard for Trusted Digital Repositories, and
art, including significant works of art by video art pioneer Nam
the National Digital Stewardship Alliance’s Levels of Digital
June Paik. In 2009, the museum acquired Paik’s complete estate
Preservation. The Hirshhorn Museum and Sculpture Garden’s
archive, including his writings, correspondence, notes, sculptures,
Conservation Team has developed their internal processes even
and studio effects. To commemorate Paik’s legacy and profound
further, defining the ingest and care of the artwork components
influence on the art world, SAAM holds an annual birthday
in the system as both interventive conservation treatments and
celebration in his honor and invites contemporary artists to
ongoing preservation actions, in accordance with the policies and
exhibit a selected piece of artwork. For the 2016 Paik birthday
processes for other material artworks. TBMA Package Reports
celebration, Film and Media Arts Curator Michael Mansfield
are provided to the Museum biannually in the ongoing manage-
invited Brooklyn-based artists Lilla LoCurto and Bill Outcault to
ment of these file based artwork components. The Hirshhorn has
present their work titled “the willful marionette.” One of thirteen
instituted their own policies to incorporate this documentation
time-based media artworks acquired by the museum that year, it
in the artwork’s ongoing condition assessment. DAMS actions
is indicative of SAAM’s increasingly diverse collection of media
are documented in the form of treatment logs in the Hirshhorn’s
art. The kinetic sculpture combines sculpture, software, and elec-
internal systems. As the DAMS Package develops, management of
tronics. The eponymous marionette Little Bill (Big Bill being artist
these files is not only being informed by the needs of treatment,
Bill Outcault) is a 3-D printed, blue PLA plastic doll designed
but is also influencing how that treatment is documented. In this
from scanned images of the artist himself. The marionette is not
way, digital preservation and art conservation professionals have
controlled by human hand, but rather by custom software that
built a shared plan drawing from both fields. Crystal Sanchez,
interfaces between a system of eleven stepper motors that move
Digital Preservation Specialist at SI DAMS, and Briana Feston-
the doll, and two Microsoft Kinect cameras which serve as the
Brunet, Variable Media Conservator at the Hirshhorn Museum
doll’s “eyes.” The marionette is thereby able to interact with its
and Sculpture Garden, will present their work in building a pres-
audience, and responds in real time to spontaneous human inter-
ervation action framework for the care of digital artwork compo-
action with gestures of its own. Its range of different physical and
nents in the Smithsonian DAMS. This presentation will examine
digital components poses unique risks, a quality which is a frequent
the shared responsibilities in building and executing policies and
challenge to the conservation of contemporary media art. Ariel
actions in the framework, will explore the allocation of tasks to
O’Connor, Objects Conservator, and Dan Finn, Media Conser-
manage the defined requirements, and will speak more broadly
vator, will detail their efforts to effectively document the work’s
to the use of an enterprise Digital Asset Management System
many facets during the installation and acquisition processes. The
in the care of these specific artwork component files, in its role
presentation aims to present a case study that is exemplary of the
as a preservation repository for this select class of assets. It will
wide range of expertise that time-based media conservation can
also provide perspectives on this choice from both the IT System
require, and the collaborative approach that it necessitates.
Admin and the Museum Conservator roles, and provide examples
from specific artworks in the collection.

Digital Preservation Actions as Interventive

Conservation Treatments at the Smithsonian The Role of Conservation Treatment in a Mass-
Briana Feston-Brunet, Crystal Sanchez Digitisation Program
At the Smithsonian Institution, stewarding digital assets is an Felicity Corkill
institution-wide concern. The Institution has deployed an enter-
Digitisation programs are frequently aimed at reducing the
prise Digital Asset Management System (DAMS) to support this
need for physical access to collection material, with the result
effort. The system supports all units and currently contains over
that fewer resources are expended on physical preservation. This
10 million image, audio, and video assets including event docu-
paper discusses the benefits of a mass-digitisation program where
mentation, digital surrogates of collection objects, and component
resources are provided for the conservation treatment of collec-
files of accessioned artworks at the Museums. Additionally, the
tions, in some cases, material that would otherwise not have
SI DAMS uses a vendor application, bringing with it its own
received attention at this stage, thus reducing the need for more
advantages and challenges, functionality that must be taken into
interventive treatment later. In 2012 the State Library of New
account when building out a comprehensive plan for the care
South Wales, Australia (SLNSW) was awarded an AU$61.8M
of specific artwork component files. The Smithsonian Museums
state government grant to undertake a 10-year program of mass-
have worked in collaboration with the Smithsonian’s Office of the
digitisation, which aims to create 20 million digital objects.
Chief Information Officer DAMS team to build a suite of actions
This year, the Digital Excellence Program is aiming to digitise

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1.9 million items from across 33 collections using both onsite instance of the scanner was revised by its two-person production
and offsite digitisers. Material formats vary widely and include team. Acquiring the scanner was a result from CFA’s aspirations
books, manuscript papers, maps and plans, serials, pamphlets, to expand its means of collection care through digital preservation
newspapers, photographs and negatives, cassette, reel-to-reel and access efforts; the urgency of this being solidified after being
and DAT tapes, film, coins, medals, oil paintings, drawings and granted a MacArthur Foundation MACEI award in February of
watercolours. Mass-digitisation programs of this scale and with 2016 with the understanding that this aspiration was to be fully
this variety of material formats are not common, so it is exciting underway within the year. Upon receiving the scanner in March of
to be able to work on this program, devising innovative methods 2016, CFA’s small staff was trained on the scanner by its creator at
of approaching mass-treatment of SLNSW’s cultural heritage its Chicago-based office. From there, the staff worked to learn the
collections. Initial project scoping identified that 22 of the collec- workflow from notes taken during the initial training sessions and
tions require input from Collection Care – over 215,000 pages remote support from the scanner’s creators; no instruction manual
of treatment and 10,500 artefacts requiring packing for offsite was available to consult as CFA offered the first set of regular users
digitisation. to approach the daily workings of the machine and its software.
While SLNSW’s Collection Care department is large, only The staff faced regular calibration failures, software crashes, digital
three conservators are allocated to the digitisation program. With artifacts, and breakdowns of physical scanner parts. By learning
such a vast quantity of material, and of varied formats, requiring how to effectively communicate issues through providing focused
attention, how does Collection Care design effective preservation contexts and details about them, CFA worked with the creators
approaches to suit available resources of time, space, staff and of the Kinetta Archival Film Scanner to correct these recurring
materials? Innovative strategies required to realise a program of issues. Working through the scanner’s technological and physical
this scale. The Collection Care team works as part of a larger digi- challenges allowed CFA to author an operations manual meant to
tisation project team, which draws on the expertise of specialists be both relevant to future Kinetta users, as well as define a new
from other departments, such as curators, archivists, librarians and approach to caring for the archive’s collections.
digitisation specialists, as well as the support of project managers
and all levels of library management. In this way judicious
collection selection is undertaken, taking into account collection Obsolescent Technology: The viability of the
condition information, as well as considerations of collection
rarity, value and level of use. Once collections are chosen, the
cathode ray tube used in art
second phase of the project is to determine the resources required. Sara A. Moy
Collection surveys are conducted to determine the extent of
stabilisation treatment required in order to image the items, and The cathode ray tube (CRT) is a substantial vacuum tube used
therefore the required resources of space, time, staff and materials. to display images in television sets, computers, automated teller
In order to handle these mass-treatment programs, the Collec- machines, video game machines, video cameras, monitors,
tion Care team have developed innovative preservation platforms oscilloscopes and radar. It is composed of one or more electron
to reduce the extent of interventive treatments. In three brief guns and a phosphorescent screen. Like many other examples
project case studies, different aspects will be explored, including of redundant technologies, CRTs have been integral to instal-
using cataloguing processes to gather condition information on lation and video art in galleries since the ‘60s. Installations and
an audio collection; the use of high-level condition assessments art that incorporate electronic components are often vulnerable
to inform stabilisation treatment of photographic negatives; and to sustained technological development and other factors outside
the importance of choosing appropriate subsets of collections to their physical nature, which accelerate their obsolescence. In fact,
reduce unnecessary preparation. Through the practical design and the declining production of this particular technology coupled
successful implementation of ethical conservation treatments, with an increasing inability to source used CRTs has become a
SLNSW is prolonging the lifetime of their cultural heritage concern for institutions and collectors where it is integral to a work
collections, while simultaneously providing access through mass- of art. While external factors influence the lifespan of a CRT, such
digitisation, providing benefits well into the future. devices generally benefit from ratings that estimate the lifespan of
the instrument - typically related in number of operational hours
- before the CRT becomes unreliable and/or ceases to function
entirely. Due to the finite longevity of CRT technology, the need
Me and My Kinetta to change certain elements is unavoidable, particularly when the
Amy Belotti physical form of the CRT is essential to the functioning of many
works that rely on those instruments as core components.
The current landscape of art conservation faces many chal- Today, the role of a conservator encompasses a broader under-
lenges when it comes to digitization technologies that are used standing of preservation. Specifically, conservators no longer focus
to render artworks for public display and preservation. Chicago exclusively on the repair of an art object, as they are also concerned
Film Archives (CFA) faced a unique challenge in acclimating with documentation, determining the acceptability of change and
the newest instance of the Kinetta Archival Film Scanner into managing the changes deemed necessary. Nam June Paik, who
its digitization workflow. I aim to discuss acting as the inaugural transformed video into an artist’s medium with his media-based
user of the machine and its operating software after a previous art and understood the impact of technological redundancy/

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obsolescence, granted the owners of his works permission to make (Not) Freaking Out Over the Videofreex:
the technical modifications necessary to ensure their continuous Preserving a video collective archive
operation. In preparation for the loan of “Nam June Paik: Global
Visionary” to Smithsonian American Art Museum (December Tom Colley, Kristin MacDonough
13, 2012 – August 11, 2013), the conservation department at
Video Data Bank (VDB) is a leading resource in the United States
The Art Institute of Chicago embarked on a conservation project
for video by and about contemporary artists. The VDB Collection
to revive one of the Paik robot assemblages in their collection,
includes the work of more than 550 artists and 6,000 video art titles,
Family of Robot: Baby. Prior to the Smithsonian, Baby had not
and work is available to exhibitors through an international distri-
been exhibited since 2000 (at the Solomon R. Guggenheim
bution service. Steadfast in staying ahead of exhibitors needs, VDB
Museum in the exhibition, “The Worlds of Nam June Paik”).
has been long committed to digitization and preservation of its
This presentation will focus on the history of CRT replacement
video archive, including the Videofreex Archive special collection.
in art, the efforts conducted to maintain the CRT technology for
Founded in 1969, the Videofreex were one of the first video collec-
Baby’s video playback and the viability of this overall approach. It
tives in America: through the mid-1970s they produced content
will conclude with a discussion of works by several other artists in
using newly available consumer video equipment that chronicled
which changing the CRT technology for playback or as a sculp-
the counter-culture movement and broadcasted the first pirate TV
tural component is impossible, and the implications that will have
station in the country from Lanesville, NY. In 2001, VDB began
on those works.
acquiring the Videofreex tapes from locations around the country,
the majority of which are on ½” open reel. Digitizing the tapes has
been a high priority for VDB, and thanks to generous donations
Framing the Jones Buffer: Documenting the early on, many tapes were digitized through the Bay Area Video
history and preservation of an iconic image- Coalition’s Preservation Access Program. In 2014, VDB received
processing tool project funding to enhance ongoing, in-house digitization activities.
This presentation will discuss the work involved in preserving the
Athena Christa Holbrook Videofreex Archive, from initially acquiring, cataloging, and priori-
Since the early 1970s, video artist and engineer Dave Jones tizing the tapes, to recent in-house digitization activities – notably,
has garnered iconic status as one of the most important video obtaining and repairing ½” open reel decks, as well as cleaning and
toolmakers within the Western and Upstate New York media stabilizing tapes against further deterioration.
art communities. He is well-known for transferring concepts
and techniques from analog audio synthesis--such as filtering,
sequencing, and voltage control--to the realm of video synthesis Overcoming Your Control Issues: Arduinos as an
and image-processing. His most prominent inventions include emulation strategy
the Jones Synchronizer, Jones Digitizer, Jones Sequencer, Jones
Colorizer, Jones Keyer, and the Jones Frame Buffer. Jones’ tech- Sasha Dobbs, Martina Haidvogl
nological innovations in the creation of analog and digital tools Arduinos are low-cost, open-source, and easy-to-use micro-
for image-processing and generative video graphics have been controllers, supported by a large community. As a flexible and
invaluable contributions to the history and development of experi- programmable platform, they can take input, monitor processes,
mental video, having influenced artists such as Gary Hill, Peer create output, and connect to a number of external devices and
Bode, and hundreds of artists-in-residence at the Experimental custom electronic circuits using various protocols. Their design
Television Center over the course of its 40 year legacy. His tools is tailored towards a non-technical audience, which makes
have served as integral devices for the creation and exhibition of them accessible tools for both advanced technicians and anyone
video installations, many of which have since been collected and less familiar with electronics. Originally created for artists and
shown in numerous cultural heritage institutions. In her essay designers, they are found in numerous contemporary art instal-
“Preserving Machines” from The Emergence of Video Processing lations. By describing two case studies, this paper explores their
Tools vol. 2, Mona Jimenez posits that video processing tools, application as part of a conservation treatment: Bruce Nauman’s
such as those created by Jones, are best documented and preserved Life Death/Knows Doesn’t Know, 1983, a neon lights installation
through collaboration between conservators, toolmakers, artists, whose sequencer stopped working; and Anthony McCall’s Slit
and scholars. Responding to this call, this paper will present the Scan, 1972, a high-speed slide projection that ran too fast with
findings and results of a week-long residency at Signal Culture available slide projectors. While there were rather straightforward
alongside Dave Jones, as a case study in producing comprehensive technical problems to solve, diving into each case study—together
and centralized documentation of a complex image-processing with curators and the artist or their representatives—revealed a
tool, addressing origin and development, technical specifications, more complex set of issues. Using Arduinos allowed for a quick
conservation issues and recommendations, as well as the broader change of settings and their comparison brought new facets of
context of its enduring influence artists and the history of media the works to light. With contemporary devices like these various
art. hardware emulations are possible. Arduinos in particular have the
potential to replace legacy controllers used in sequenced media

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artworks that have since become obsolete or difficult to source. By From Virtual to Reality: Dissecting Jennifer
introducing Arduinos to a wider audience other possible applica- Steinkamp’s software-based installation
tions for conservation may be revealed, leading to further research
on this innovative device. Shu-Wen Lin
As a pioneer in media art, contemporary artist Jennifer Steinkamp
is critically acclaimed for her abilities to weave digital media into
The Conservation of Light: Managing a large-scale installations that envelop the audience vis-a-vis streams
collection of light-based artwork of moving images. In this paper, I use Steinkamp’s animated instal-
lation Botanic that was exhibited in “Times Square Arts: Midnight
Abigail Duckor, Charlotte Eng, Terry Schaffer Moment” as a case study. The goal is to discuss the implications
Light has a long history of use in art, but as a medium it can pose of technological obsolescence; potential loss of quality during file
many new challenges for conservators. As soon as lighting tech- re-formation and data migration, as well as pinpointing underlying
nology becomes available on the market, it is being manipulated threats in each stage —3D modeling, animation, rendering, and
in contemporary art. Equally as fast, the production of these light post-production—posed by incomplete documentation, missing
sources becomes obsolete with the introduction of new techno- digital components, and software incompatibility. From creation
logical innovations and additional lighting regulations. Since it is to completion, the complexity of Botanic not only presents tech-
necessary to recognize artificial light sources as artists’ media, it nological challenges but also an ethical dilemma that contempo-
is essential to characterize them systematically in order to enable rary conservators have been facing in the past few decades.
the preservation and appropriate presentation of a diverse range To a certain extent, normalization of proprietary formats
of light sources. and data migration can help increase the sustainability of digital
To meet the challenges of the growing collections of light- objects. However, the nature of Steinkamp’s Botanic involves CAD
based works in museums, a documentation approach is needed. (Computer-Aid Design) software applications and computer-
This will be necessary to maintain the original light effects of these generated graphics that require meticulous care. Unless a compre-
works, particularly given the rapid changes in lighting technolo- hensive understanding of the born-digital objects and digital
gies. Research was undertaken at Glasgow Museums to develop elements within the files is established–whether the element was
a solution for the care of the museum’s collection of light-based intentionally created by the artist, is an unreproducible result
artwork. The study evaluated whether the use of an inventory is by the system, or was automatically generated from software’s
a practical and effective way to manage a collection of light-based default settings–significant translation errors can occur during file
works in an institution. The assessment revealed many complexi- re-formation. Through carefully disassembling the artist’s creation
ties when documenting various lamp types but that an inventory process, I attempt to focus on the internal structure and relation-
is a suitable strategy for managing the vital upkeep of replacement ship between Maya, After Effects, scripts, and final deliverables.
light components. For this analysis, I provide recommendations from macro to
This documentation approach is currently being refined as it micro to construct a documentation system that can help future
is applied to the collection of light-based works in the Los Angeles caretakers to fully understand the creation process and the usage of
County Museum of Art (LACMA), where scientific instrumen- different digital objects. The conservation actions enable informa-
tation is also available. At LACMA, spectral light meters are tion exchange across software and emphasize migration between
routinely used to characterize the spectral outputs of new LED different versions of the same system. I aim to add a certain level
bulbs for gallery lighting. The spectral and colorimetric infor- of compatibility to the file; and at the same time, preserve as much
mation that these meters provide would also be useful for lights information as possible for future conservators to contextualize and
incorporated in works of art to monitor them as they age or to make accurate interpretations of the geometric-centric artifacts. I
evaluate replacement bulbs. strive to provide a risk assessment that will inform museum profes-
By combining the documentation strategy with scientific data sionals as well as the artist herself to identify sustainability and
on light sources, it is possible to objectively characterize light when compatibility of digital elements in order to build a documenta-
it is used as a medium in works of art. This approach will better tion that can collect and preserve the whole spectrum of digital
inform conservation decision-making and lead to enhanced pres- objects related to the piece.
ervation of light-based art objects in the future.

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New Research and Developments in the installations to web-based projects. It provides a useful tool to
Conservation of Computer-based Art reveal technical boundaries of software ensembles, and discover
useful technical abstractions that work across different artifacts,
Deena Engel, Joanna Phillips which in turn help to define treatment approaches. Tate is now
planning to implement this process across the other works in the
This joint paper introduces the Guggenheim initiative “Conserving
Collection and any new acquisitions; Rhizome is applying this
Computer-based Art” (CCBA) and the museum’s collaborative
process to the body of its collection.
case study research with faculty and students from the Department
of Computer Science of New York University’s Courant Institute
for Mathematical Sciences. New methods of artwork examina-
tion and condition assessment are explored based on the authors’ Do You Hear What I Hear? Documentation
cross-disciplinary study and source code analysis of computer-based and Assessment of Aural Elements in Media
artworks from the Guggenheim collection, including installations, Installation Art
sculptures and Internet art. The talk gives special attention to the
development of conservation documentation that is informed by Amy Brost
computer science methods and aims to serve future decision-makers Perhaps because the visual arts predominate in museum collec-
of different disciplines, ranging from programmers to collec- tions, conservation documentation methods for audio in media
tion caretakers and art professionals. Guided by the objective to installation art are less developed than those for video. However,
accommodate and establish the care of computer-based art within the aural elements are equally complex, both technically and
the greater field of contemporary art conservation, the authors creatively. In works involving sound reinforcement (electronic
investigate the conceptual anatomy and functional dependencies amplification of audio signals), artists frequently work closely
of the studied computer-based artworks and identify analogies and with audio engineers or other sound specialists to make adjust-
differences between them and traditional conservation objects. The ments that shape the sound within the exhibition space. This talk
authors discuss the applicability of existing conservation ethics, will propose methods for documenting these decisions and the
principles and practices to the care of computer-based art and map resulting listener experience of the work. Challenges inherent to
the needs for further research and best practice development within both subjective and objective methods of documentation will be
the field of contemporary art conservation. The research discussed discussed, drawing from the fields of acoustics, psychoacoustics,
in this paper presents an integral part of the Guggenheim’s current and sound engineering. In addition, condition assessment and
CCBA initiative to survey, save and study 22 computer-based characterization of the audio prior to installation is essential to
artworks in the museum’s collection. ensure that the capabilities of the sound system are appropriate
not only to the technical specifications of the digital files, but
to the artist’s vision for the listener experience. This talk will
Establishing a Workflow for the Preservation of include examples of inspection of audio files and streams using
Software-Based Artworks software applications, and examination of audio information in
file metadata. Several case studies will illustrate possible applica-
Patricia Falcao, Klaus Rechert, Dragan Espenschied, Tom Ensom tion of these methods, and may include artworks with live sound
Emulation has evolved over the last few years to become a viable performance as well as pre-recorded sound.
preservation strategy and is becoming more and more common, not
only in archives but also in Museum practice. In order to better
understand when and how to use it, as well as what processes and SFMOMA’s Mediawiki: Prototyping a new object
infrastructure must be in place, Tate collaborated with Klaus Rechert record
from Freiburg University to develop a workflow, and created a
report describing a framework for the use of emulation for preserva- Martina Haidvogl, Rachael Faust
tion of artworks. This was made possible by PERICLES, a European Media artworks challenge traditional documentation systems and,
funded project which focuses on evaluating and representing the in our experience, reveal the limitations and restrictions of the
risks for long-term digital conservation of digital resources. As part proprietary museum software currently available. With new ways
of that collaboration we then tested that approach in a workshop of working being formed in today’s museums, innovative systems
with the participation of Dragan Espenschied of Rhizome on works are required that support collaborative workflows and encourage
from the Tate’s collection. Later the same process was applied to net multi-user participation, all while serving the different needs
art pieces in Rhizome’s collection. necessary to keep the art at the center. Building on a rich history
As illustrations, we will use two examples from the Tate in this area of research, the San Francisco Museum of Modern Art
Collection, “Sow Farm” by John Gerrard (T14279), “Subtitled (SFMOMA) has launched an internal web platform that utilizes
Public” by Rafael Lozano-Hemmer (T12565), and “The File the open-source MediaWiki software to capture, document, and
Room” by Antonio Muntadas from Rhizome’s collection. We were distribute both concrete and contextual information around
able to demonstrate that the proposed workflow is applicable to artworks. Widely supporting multi-media assets, SFMOMA’s
a very broad range of software-based artwork, from interactive Mediawiki can host videos, audio- and image files, a variety of

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document formats, as well as link to external sources. Taking Julia the artist/activist David Wojnarowicz. As the first task in the larger
Scher’s iterative media installation Predictive Engineering as a case Artist Archives Project, the David Wojnarowicz Knowledge Base
study, members of the Mellon-funded research project ‘the Artist is built with MediaWiki software. It contains information about
Initiative’ have explored the different ways a comprehensive object the deceased artist’s materials and technologies, his installations,
record can look like and be created. This extensive research culmi- collaborators, performances, and media works, as well as concerns
nated in a two-day colloquium at which scholars from around the for future presentation of the work of this pivotal late twentieth
globe were invited to critique both the contents of the record as century artist. Early in the project, the research team decided
well as the technical platform. SFMOMA’s Mediawiki was recently that relationships among the elements of the artist’s works would
opened to all members of SFMOMA’s Team Media consortium, determine the nature of the underlying conceptual database. Thus
who are now testing its usability. Their feedback and participation the project became equally a “content” and a “technology” effort.
will inform further steps and determine if the MediaWiki platform We considered customizing an open source content management
can become a complimentary tool to our existing databases and system (CMS) using an open source framework such as Drupal
fulfill the multi-facetted needs of documenting artworks even but that would have required considerable custom programming
beyond this most challenging body of works. leading to both higher development costs and higher future main-
tenance costs. We selected MediaWiki for our Knowledge Base to
insure a stable, open-source, user-friendly and high-performance
web environment. In addition we explored configuration options
The David Wojnarowicz Knowledge Base: A wiki- and customization to the MediaWiki software in order to optimize
based solution for conservation and exhibition the flexibility of the system design, to support the integration of a
documentation wide variety of documentation file formats that support conserva-
tion efforts, and to build a flexible user interface to meet the needs
Glenn Wharton, Deena Engel
of conservators and others in the scholarly community.
The treatment of contemporary art relies on a broad range of
information gathered from many sources and stored in multiple
formats. Prior conservation reports, analytical results, still and Repair, Replace, and Re-make: Negotiating/
moving image documentation, installation instructions, record-
Navigating the conservation treatment of Ann
ings of artist interviews, emails, and publications represent just
some of the sources that conservators and their colleagues draw Hamilton’s ‘at hand’
from to arrive at conservation treatment decisions. As variable Briana Feston-Brunet, Stephanie Lussier, Michal Mikesell, Drew
works change over time from one iteration to the next, their docu- Doucette, Emily Nabasny
mentation becomes the resource that defines what a work has been
and can be in the future. Given its significance for future research, Since its acquisition by the Hirshhorn Museum and Sculpture
designing good archiving and access systems for this documen- Garden in 2002, Ann Hamilton’s installation “at hand”—a variable
tation is becoming a major topic of research. Within museums, media artwork composed of audio, performative, and physical
collections management databases are the primary resources for elements intended to simultaneously entice various senses—has
storing information about collections. Conservators struggle to suffered from the consequences of inaction. When the work was
enter their documentation into these information management slated for exhibition last year, it was discovered that it had gone
systems. They also strive to incorporate documentation that is from a state of dormancy to obsolescence, challenging our ability
archived elsewhere in various formats. They push the limits of to access and display the artwork. Treatment of a complex instal-
what these databases can handle in their efforts capture all of infor- lation such as this can become more complicated with time, as
mation necessary for future treatment and exhibition decisions. perceptions change, information is lost, technologies become
This presentation provides a model for an alternate software obsolete, and materials degrade, often necessitating increasingly
solution to information management for conservation: the wiki. significant intervention to bring it back to an active state.
The authors do not recommend replacing hierarchical collections In the case of “at hand,” this required a thorough examination,
management databases in museums, but they suggest that wiki re-evaluation, and inventory of all materials associated with the
software provides an option for managing complex conservation artwork from the time of acquisition in order to identify specific
documentation in some circumstances. The strengths of wiki components and previous alterations, as well as research into
software include the category/subcategory functionality provided the history and intent of the artwork itself. Addressing all of the
natively to group documents in unlimited and meaningful ways. components, including pneumatic and computer-operated paper
Also the powerful hierarchical page/section structure allows dropping mechanisms, the paper, the audio files and playback
conservators to create meaningful URLs for linking within and equipment, and the performativity of the artwork, could only be
across webpages. achieved through the collaboration of media and paper conserva-
In collaboration with archivists, art historians, and other tors, media preservation specialists, audio-visual specialists, exhi-
scholars at New York University, the authors combined their bitions staff, and the artist and fabricator.
expertise in conservation and computer science to investigate the The treatment itself was largely informed by the artist and
potential for wiki software to create an information resource for fabricator, who increased our understanding of the principal

Electronic Media
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 ELECTRONIC MEDIA

action of the artwork—dropping paper from the ceiling using a and the swivel motion and toe tapping of the boots.
mechanized dropper unit—as not simply the dropping of paper, First used in the 19th century, Tap Dancer draws from the elec-
but as the replication of the human act of an arm moving forward tropneumatic design common to the Wurlitzer organ in combi-
and releasing paper from a hand. Treatment involved not only the nation with a sound composition from wooden-headed mallets
practical repair of the artwork, but also the replication of obsolete striking four wooden blocks from a xylophone—an interesting
components, and the replacement of others in order to bring the choice as some of the first Western uses of the instruments were for
work back to an active state. This paper will address all aspects theatrical acts of Vaudeville. Von Huene’s machine-sculptures have
of the conservation of Ann Hamilton’s “at hand,” including the many conservation issues, particularly when they are displayed and
overall disrepair of the paper dropping mechanisms, the obsoles- plugged in for action. The condition of the circuitry is critical to
cence and importance of the original paper, and the inaccessibility allow the boots to perform their composition, which is intended
of the eight audio tracks. The priorities for conservation varied to be random by way of an EPROM-circuit connected to an
based on materials, paper or electronic, but the idea of the artwork E050 timing circuit. Furthermore, the re-used musical compo-
as a type of repeatable performance, with visual, auditory, and nents are vulnerable to mechanical stress failure and one broken
tactile components, guided all aspects of conservation. wire, shorted chip, frozen relay or erased EPROM could stop the
show. His sculptures do not come with a schematic; therefore, the
function of all of the parts has inherent ambiguity. It is also most
Finding Logic Within Integrated Circuits: The common for a series of problems to occur simultaneously, making
the diagnosis and restoration time-consuming and challenging
restoration of Stephan von Huene’s Tap Dancer even for a skilled electronics engineer.
Julie Wolfe, Coleman Wood The talk describes challenges that arose during the exhibition
of Tap Dancer at the J. Paul Getty Museum in Los Angeles, a series
Stephan van Huene is recognized for his acoustical sculptures— of malfunctions, temporary conservation interventions, and a
which he called “machines”—that combine movement and sound complete restoration after the exhibition. The paper will provide
with the flip of a switch. This presentation will focus on his 1967 guidelines for restoring von Huene’s sculptures and can serve as
machine Tap Dancer composed of wood and leather boots that a model for other works of art that incorporate early electronics.
perform a three-minute tap dance atop a wooden base every half The experiences exhibiting Tap Dancer has provided informed
hour. It is only upon opening the base from its four sides that conservation issues for his “machines” when challenged to exhibit
you realize the construction is a homemade version of an elec- them as the artist intended. The endurance of their structures
tropneumatic console for a pipe organ. The components include are inevitably at risk—a matter of concern that will continue to
a network of integrated circuit boards that are wired to control resonate for conservators and curators in the future.
recycled valves, levers, and bellows linked to percussion elements

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The Conservation of Della Robbia Sculpture: An at least 100 years was unstable, necessitating its complete disas-
exhibition as initiator of work sembly and reconstruction. All technical and treatment aspects
of the dismantling, reassembly, reintegration and remounting of
Abigail Hykin the altarpiece will be explored at length but several topics will
specifically be highlighted. In particular, the timeframe allotted for
This presentation will provide an introduction and launch to a
treatment did not permit the use of standard mounts despite the
group of consecutive talks on the conservation of glazed terracotta
fact that the weight, cantilevered position and limited surface area
sculpture from the Italian Renaissance. The talks will cover both
of many of the segments demanded additional support beyond
recent exhibition related conservation treatment on important
an adhesive system. As a result, a novel solution was designed in
works of three generations of the Della Robbia family and its
response to this mandate.
related workshops, and selected other non-exhibition related
Considerable time will also be spent outlining the myriad
treatment of this material. At the Museum of Fine Arts, Boston,
inherent problems in attempting to display architectural objects
the exciting 2004 rediscovery in storage and subsequent treatment
such as these in a context so far removed from the original and the
of Giovanni Francesco Rustici’s monochromatic glazed terracotta
inevitable compromises and regrets that accompany the resultant
figure of St. John the Baptist (ca 1505-15) became the impetus
decisions. An ancillary benefit of the wholesale restoration of
for a renewed focus on glazed terracotta sculpture, culminating
the “Adoration” was the unprecedented opportunity to study its
in the exhibition Della Robbia: Sculpting with Color in Renaissance
construction and to reveal the features conferred on it through the
Florence (Museum of Fine Arts, Boston, August 9-December 4,
processes of both fabrication and previous repair. These features
2016; and the National Gallery of Art, February 5-June 4, 2017).
and idiosyncrasies, which are perhaps unique to the Buglioni
This exhibition, the first ever devoted to the Della Robbia in the
workshop—a topic little explored in either the conservation or
United States, brought together forty-six works from 21 American
art historical literature—will also be presented. This massive
collections (19 museums and 2 private) as well as several important
undertaking happily coincided with similar large-scale treatments
Italian loans.
being performed concurrently at multiple institutions across the
This presentation will begin by outlining how the exhibition
country and abroad. In isolation, treatment of the “Adoration”
has stimulated conservation and technical research of these works
was a monumental achievement, especially considering the
in many lending collections. Beyond the exhibition itself, works
scheduling constraints under which it was performed. But when
from the Della Robbia and Buglioni workshops at several other
viewed in the context of the broad and prodigious efforts toward
institutions and private collections have been treated and studied,
similar goals by so many others during the exact same period, the
both in the US and internationally. Many of these projects will
treatment was even more remarkable, constituting a chapter in a
be presented in related talks. As the catalyst for the exhibition,
unique volume of conservation history, exemplifying the singular
the treatment of St. John the Baptist will be described. Decisions
benefits of—but also the caution needed in—cross-institutional
about the extent of final compensation were made with the cura-
collaboration and communication.
torial input and included the restoration of key missing elements
(finger, hoof, and neck). The treatment revealed information
about the artist’s working methods as he modeled the sculpture in
the round and provides a jumping off point for comparison with Truth Versus Beauty: Maintaining visual unity
the Della Robbia production. in the treatment of Florentine polychrome
terracotta sculpture
Tony Sigel
The Comprehensive Re-Treatment of a
Renaissance Terracotta Altarpiece by Benedetto Loss compensation in sculpture can pose treatment questions
Buglioni that can be resolved in many different ways. Different genres,
materials and surfaces call for different treatment responses, and
Rachel C. Sabino different pressures may come to bear when the project involves
privately owned works. This paper describes the visual compensa-
“Adoration of the Shepherds” was sculpted in the Florentine
tion issues affecting two sculptures from the Italian Renaissance,
workshop of Benedetto Buglioni sometime around the year 1520
a life-sized glazed terracotta of S. Giovanni da Capistrano, and a
and bears the coats of arms of Alessandra Pazzi and Bartolommeo
smaller Plaque with Winged Putto, both by Santi Buglione. Both
Buondelmonti. Significant in scale, standing at ten and a half feet
were privately owned when originally treated. The S. Giovanni,
tall, the altarpiece was acquired by the Art Institute of Chicago in
now in the collection of the Los Angeles County Art Museum,
1924. In 2006, it was consigned to storage where it languished
is one of a group of three near life-sized figures of saints by the
for the next decade awaiting its inclusion in the newly-designed
Florentine sculptor, a relation of the Della Robbia family. Each
galleries of Medieval and Renaissance Art which opened in March
of the three figures was conserved in a different studio: two in
of 2017. Comprehensive examination in preparation for treatment
the United States, one in Italy, and all are brought together in the
revealed that in addition to significant damages, misalignments
current Museum of Fine Arts, Boston exhibition, Della Robbia:
and disfiguring fills to its 46 sculptural ceramic segments, the
Sculpting with Color in Renaissance Florence. They provide a
wooden cradle onto which the segments had been mounted for

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fascinating window into differences in treatment style, technique, piece will be placed when determining our aesthetic goal(s). In
and materials. some cases we tip the balance more toward preserving a greater
The author will discuss his approach to compensation for proportion of glaze or fabric losses, for example; and in some cases
the Buglione Plaque with Winged Putto, and the S. Giovanni da we lean toward carrying out more of a full restoration. The trio of
Capistrano figure, which were severely damaged and suffered a Santi Buglioni’s near-life-size sculptures that were showcased in the
variety of condition issues. One of the themes is selectivity – what 2015 Museum of Fine Arts, Boston exhibition, are a case in point.
to treat, and what to leave untreated. Where and how much to Aesthetic choices during our treatment Saint Bernardino, differed
fill and inpaint, and where not to, to allow the original surfaces from Tony Sigel’s choices during his conservation of Saint John of
to speak of their condition and composition. What is damage to Capistrano - a treatment that he will present in a companion talk -
be concealed, or minimized, and what is damage to be preserved? and both our choices differed from those of the Uffizi treatment of
How can the conservator avoid overtreatment and the conceal- Saint Francis. Our part of a joint presentation with Tony Sigel will
ment of important signs of age, composition, and inherent vice discuss our general approach for the treatment of these terracotta
which contribute to critical patina and signal originality? How sculptures. We will include a review of the general materials that
can one preserve evidence of the state of technology of the we use and discuss some of our choices in light of our work in the
time it was made—the multiplicity of defects in the glaze and private sector.
underlying original terracotta—while preserving the visual unity
and coherence of the work intended by the artist? By taking the
work in stages, making careful selections, and maintaining close Tempting Fate: Lessons learned from the
communication with the owner/curator, these tensions may be
successfully negotiated. The author will present visual evidence
treatment of Giovanni della Robbia’s Adam and
and describe the practical treatment methods to illustrate his Eve
work, as well as what he would do differently now. Gregory Bailey
Recent examination and conservation treatment of the Walters Art
Museum’s large scale relief of Adam and Eve (27.219), attributed
Conservation of 15th and 16th Century Italian
to the workshop of Giovanni della Robbia circa 1515, has shed
Glazed Terracotta new light on the complex history of this object during the 19th
Leslie Ransick Gat, Erin Toomey and early 20th centuries when it moved least four times among
collections in Europe and America. On continuous view at the
Over the past 15 or so years, Art Conservation Group has worked Walters since 1909, the relief is currently located on a stairway
on more than a dozen glazed Italian terracotta sculptures, many landing in a high-traffic area of the museum, hindering access
of them from the Della Robbia workshops; some small, several and photography. In 2013, an unfortunate incident of damage
have been life sized. All of these works have come to us after provided the impetus for a year-long effort to examine, document,
purchase from the open market or auction house; occasionally and treat the relief to provide better records of condition, stabilize
they are brought to us by dealers. Renaissance-era painted surfaces loose fragments, and remove dirt, grime, and excess restoration
are altered in appearance by the aging of the paint and varnish materials. The project was conducted in close collaboration with
layers; however beautiful a painted Madonna and Child remains, James A. Murnaghan Curator of Renaissance and Baroque Art Dr.
it cannot look as it did the day of its creation. The chemistry that Joaneath Spicer.
takes place over time, not to mention generations of restorative Examination and treatment were conducted largely in the
work, renders these surfaces vastly changed. public, and physical constraints of the landing area prevented the
One of the glories of glazed ceramics is that beneath the layers use of solvent extraction equipment. As a result, cleaning methods
of grime and old restoration, the surfaces are often beautifully were restricted to mechanical, aqueous, and low-VOC solvent
preserved. If properly treated, a glazed surface cannot really be methods. Frequent interaction with museum visitors, while not
over-cleaned; removal of grime and old restoration only further originally part of the treatment plan, became a valuable and highly
reveals its original surface, its original appearance. Though there visible form of conservation outreach in the galleries. Loose or
are often multiple areas of damage, adjacent surfaces largely detached fragments were consolidated with Paraloid B-72 on days
inform the viewer as to how the whole would have looked. In that the museum was closed to visitors. Several loose sections were
essence, it is more of a viable option to strive for “an original separated to facilitate removal of corroding iron pins. Removal of
appearing surface” on a glazed ceramic work than on any other overpaint and excess fill materials revealed many sections of glazed
media of the period. However, depending on context, this is not terracotta that had long been obscured, including portions of the
always the best objective; part of the journey of each treatment is inscription with gaps and possible transpositions of text. Removal
deciding on the most appropriate extent of restoration. of restoration material from the join edges provided evidence that
As a studio in private practice, beyond our mandate to treat the relief is partly assembled from fragments and may once have
each object within the AIC code of ethics, our choices are also been larger, surviving today in reduced form.
directed by the clients’ needs or the fact that they are going out Examination of cleaned surfaces and glaze analysis by x-ray
to the market. While it is always appropriate to preserve some fluorescence spectrometry (XRF) provided evidence that many
sense of an object’s visual antiquity, we consider the context the sections of glazed terracotta were manufactured in the 19th

2017 AIC Annual Meeting Abstracts

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century. The pink clay body and layered glaze structure of these Archangel, which sustained extensive damage after a tragic fall
newly-made pieces more closely resemble those of painted in 2008, returned to The Met’s galleries in 2015 after years of
maiolica than the buff-colored clay body and single, opaque glaze meticulous reconstruction, filling, and inpainting of losses, with
layer characteristic of the della Robbia. Archival research suggests results that are only visible at close range. More recently, a large
that the current assembly and newly-made sections may have tondo with a central representation of the cardinal virtue Prudence
been created in Italy in 1870 or before, possibly with the intent was treated in preparation for the current exhibition Della Robbia:
of sale to the South Kensington Museum. Integration of damages, Sculpting with Color in Renaissance Florence, returning the piece to
losses, and 19th-century terracotta sections was undertaken in public view after being kept in storage for more than a generation.
consultation with Dr. Spicer. Ultimately, the decision was made While daunting, the treatment of the Saint Michael lunette
to tone losses and prior restorations with only minimal additional was relatively straightforward, but culminated in the creation
filling or resurfacing of prior fills. As a result, the appearance of of an elegant mounting system designed and fabricated by The
the relief is unified at a distance, but damages, restorations, and Met’s preparators. The new mounting system was designed to
differences between the two types of terracotta are visible on close secure each of the sculpture’s original 12 interlocking sections
inspection. The treatment of the Adam and Eve has thus revealed independently while allowing the relief to be seen clearly as a
it as a complex hybrid object, combining 16th-century fragments whole. In addition to a review of this mount, some discussion of
with previously unrecognized 19th-century restorations. Addi- visual choices regarding the separation between the sections will be
tional research on 19th-century restorations in glazed terracotta included in this presentation.
is recommended, as little information on the subject is available. The massive tondo of Prudence, composed of 16 molded
and modelled sections comprising a central tondo surrounded
by a colorful garland, was found to be structurally unstable in its
The Gap Between Ethics and Aesthetics in Italian 150-year-old mount, as well as having many aesthetic issues due
to previous restoration campaigns. Conservators disassembled the
Restoration: Experience in the laboratories of the sections with the goal of remounting this large work in prepara-
Opificio delle Pietre Dure in Florence, especially tion for travel. Following disassembly, the sections could be more
on della Robbia works carefully examined, and the surfaces were cleaned revealing a previ-
ously unknown numbering system. This discovery led to fruitful
Laura Speranza, Shirin Afra
collaboration between conservators and curators to determine the
The question of the gap (the loss of materials and colors) is perhaps final and dramatically different arrangement of the tondo’s garland.
the most debated argument in the philosophy of restoration to To prepare Prudence for travel, an innovative mounting system
this day. Although the numerous theories on filling the gap were was developed and fabricated by the conservators. Inspired by the
sometimes contradictory, all of them are still current and appli- mounting system created for Saint Michael the Archangel but
cable. How do we deal with the gap in Europe and especially in modified for the more massive tondo, an aluminum honeycomb
Italy? How much of it do we fill? Does the restoration have to be backing panel combined with carbon fiber clips allowed the tondo
recognizable, should I hide the pictorial retouch or should it stand to travel safely and be displayed in the galleries. Details about the
out? Is there a common criterion that is applicable to all types Prudence tondo’s disassembly process, the rearrangement of the
of support? In other words, does ethics or aesthetics prevail? The garland sections, as well as the fabrication of the carbon fiber clips
essay examines some exemplary cases of restoration of polychrome will be highlighted in this talk.
sculptures, including della Robbia works, inside the restoration
laboratories of the Opificio delle Pietre Dure in Florence. We
analyze the criteria regarding the reconstruction of the gap in To B-72 or Not To B-72? Alternative Adhesives
modeled works, including the use of 3D scanning technique, and
for Archaeological Ceramics
the pictorial retouch in the color gap. We analyze also what we call
the “dual gap,” i.e. the presence of both the modeling gap and the Elisheva Kamaisky, Rachael Perkins Arenstein
pictorial gap, which opens the way for a new philosophical debate
Choosing an appropriate adhesive is one of the fundamental
between ethics and aesthetics of restoration.
decisions that must be made in archaeological conservation,
particularly in pottery reconstruction. The practical considerations
hold implications for the treating conservator and others who will
The Treatment of Two Terracotta Architectural care for the material for generations to follow. As conservators
Reliefs by Andrea della Robbia at The gather their kits to head out to excavations across the globe each
Metropolitan Museum of Art year, there are often recurring queries to colleagues and listservs on
alternatives to Paraloid B-72.
Carolyn Riccardelli, Wendy Walker This presentation will examine the variables that go into
The Metropolitan Museum of Art has among its extensive collec- adhesive choices for archaeological ceramics with a focus on the
tion of Renaissance-period glazed terracotta two masterpieces by hot climates of the Mediterranean and the Middle East. Results
Andrea della Robbia (1435-1523) that have recently undergone from an online survey documenting the current practices of
major conservation treatment. The lunette of Saint Michael the archaeological conservation colleagues will be shared.

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In 2005, The Israel Antiquities Authority (IAA) began to thin and is as strong as steel but a fraction of the weight. Carbon
examine its protocols for ceramic reconstruction. With limited fiber composites are ideally suited to applications where strength,
resources and scientific capabilities at the time they collaborated stiffness, lower weight, and outstanding fatigue characteristics are
with the Italian Istituto Centrale per Il Restauro (ICR) to review critical requirements, making them particularly well-suited for
adhesives and reconstruction techniques used in the lab. Mowital fabricating object supports and mounts.
B60HH (polyvinyl butyral resin) was determined to be the most This presentation will introduce carbon fiber fabric as a strong,
appropriate adhesive for their treatment needs. This collaboration lightweight material that has the potential to replace steel or brass
and the scientific process employed will be shared as a case study. in many conservation mounting applications, and will explore
A survey of historical ceramic treatments used by IAA will demon- ways that carbon fiber fabric has been used in the Objects Conser-
strate the importance of a periodic review of adhesive choices. The vation Department at The Metropolitan Museum of Art. The talk
differences in adhesive choices for field versus lab use will also be will include an overview of the material’s history and manufac-
discussed. The goal of this presentation is not to recommend any ture as well as provide ideas on how conservators can utilize this
single adhesive, but to examine some alternatives and the variables versatile material. Details on how to choose materials and methods
that inform the choice of adhesive in countries where resources, for working with the material will be featured.
climate and other challenges may result in answers other than
Paraloid B-72.
So Delicate, yet So Strong: The use of paper in
objects conservation
Structural Repair of Plaster Using Polyvinyl
Paula Artal-Isbrand
Butyral Adhesive Systems
A large variety of acid-free papers offer object conservators endless
L. H. (Hugh) Shockey Jr.
options in our work. We share the use of this unique material with
This presentation will focus on the design and use of an adhesive our colleagues in the field of paper conservation, which includes a
system for the structural repair of plaster sculpture. The parameters wide range of Japanese and other Asian papers as well as Western
influencing adhesive system design and the choice of polyvinyl acid-free papers. Furthermore, we have borrowed from the paper
butyral resins as a consolidant will be explored including methods conservation field the extremely clever and elegant methods and
for dealing with prior adhesive repairs, the issue of plaster’s struc- techniques of handling and manipulating this material when we
tural strength, controlled reversibility, and planned stress relief. do our 3-D conservation treatments. The lure of paper lies in its
These topics will be illustrated through the presentation of case properties, which superbly fit material requirements in modern
studies of treatment and retreatment of a variety of plaster sculp- conservation practice, namely reversibility, strength, inertness,
tures, painted and unpainted, over the course of ten years and permanence, stability, and minimal change in color over time. The
executed by several conservators under the author’s supervision. fact that paper is light weight and non-hazardous to the conser-
The information presented will be applicable to treatments of vator’s health and the environment are additional advantageous
conservators working with plaster in a variety of formats including properties.
hollow cast, solid cast, modeled, and architectural applications. Having received training in paper conservation early on in
her conservation career the author has continuously applied or
adapted paper conservation techniques in her objects conservation
Carbon Fiber Fabric and Its Potential for Use in treatment work. Over time the numerous applications of paper in
Artal-Isbrand’s treatment work on objects became the subject of a
Objects Conservation yearly one-day seminar at the Winterthur/University of Delaware
Carolyn Riccardelli art conservation training program. The author will describe how
the material paper can serve two very different functions in a
Carbon fiber fabric is a high-performance woven cloth made conservation treatment. It can be used as a restoration material
from carbon filament that is widely known for its applications in where it physically remains with the artwork once the treatment is
the aerospace, auto, marine, and sporting equipment industries. complete, and it can also function as a tool during treatment and
While high-strength carbon fibers became commercially available not remain with the artwork once the treatment is complete. In
in the 1960s and more broadly obtainable for consumer use in the first scenario paper can serve as a fill material, a bulking agent,
the 1990s, we have yet to see this versatile material reach its full a reinforcement material, a support or isolating layer or even as a
potential within the field of Objects Conservation. “pigment” or “inpainting material.” In the second scenario, it can
Carbon fiber fabric is designed be used in concert with a function as a facing material, a mold material, a poultice material,
resin system to create rigid parts that have a modulus of elasticity a temporary support material during filling, or a material to take
comparable to steel. These polymer-reinforced carbon compos- fine impressions. A selection of case studies will be presented. The
ites are fabricated from layers of carbon fiber cloth laminated subsequent published article will be more comprehensive, and will
together with epoxy. One notable benefit to the conservator is that include a full bibliography of publications relating to this subject.
while laying up the fabric and resin, the material can be made to
conform to almost any shape. The cured composite can be quite

2017 AIC Annual Meeting Abstracts

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Archaeological Glass Conservation: Comparative of observations made in the performance of various wax coatings
approaches & practicalities of using acrylic resin used on the Museum’s collection and introduce a pilot study that
compares over twenty-three paste waxes applied to metal coupons.
films as gap fills In collaboration with the Getty Conservation Institute, the
Jan Cutajar, Hana Bristow study includes a range of isolated wax types (natural, petroleum-
based and synthetic), proprietary products, as well as lab-made
The conservation of archaeological vessel glass is notable for the paste waxes. The waxes were brush-applied cold to polished brass
challenges inherent in loss compensation and has seen conserva- coupons, buffed, and naturally aged following ASTM standard
tors creatively manipulating many materials to varying degrees of protocol G50-10. The coupons were evaluated before and after
success. Conventional gap-filling techniques using epoxy resins are aging using spot colorimetry and digital image analysis. The
now widely regarded as inappropriate. One of the latest emerging physical properties of the pastes and the effects of aging were
techniques is the use of customisable Paraloid B-72 films, estab- characterized using direct melting point determination, acid
lished by Koob et al. at the Corning Museum of Glass. This talk value assay, solubility testing, and Fourier transform infrared
presents two alternative approaches to loss compensation in spectroscopy (FTIR). Given the expectation that waxes perform
archaeological glass using acrylic resin gap fills. The authors reflect differently depending on application, preliminary results for cold
on their independent experiences in adapting this technique and application have nonetheless provided some useful comparisons
consider each against the backdrop of Koob’s own recommenda- between the various coatings.
tions. The approaches described here illustrate the practicalities,
challenges and conclusions drawn from the application - through
trial and error - of this technique, including:
• Casting of films of varying thickness, colour, transpar- Local Treatment for Outdoor Painted Metal
ency & flexibility Sculptures: Designing suitable paints for
• Experimentation & use of different resin compositions retouching
• Shaping of fills
• Manipulation of fills and their adhesion to the glass body Nikki van Basten, Ulysses Jackson, Rachel Rivenc
The presentation highlights the similarities and differences in Outdoor painted sculptures are constantly exposed to aggressive
decision making by conservators working separately at UCL and environments and therefore highly prone to surface damages.
the Royal Albert Memorial Musuem (Exeter, UK), while repli- Surface damages are not only disfiguring but will also accelerate
cating a given treatment methodology. It also advocates the use of degradation mechanisms and in the long-term will lead to invasive
collaboration and knowledge-sharing in tackling a conservation and costly repainting campaigns. Local retouching can be an efficient
issue. Ultimately, through sharing these experiences, both case solution to postpone these campaigns when paint losses occur on
studies serve as a guide for conservators wishing to implement outdoor painted sculptures, as a temporary measure to restore the
similar treatments in the future. It is hoped that in doing so, the aesthetic integrity while preventing further damage to the exposed
professional conservator’s repertoire for the treatment of archaeo- substrate. Carrying out unnoticeable repairs on flat monochromatic
logical glass will be expanded upon, allowing for the significance surfaces can be challenging, as is finding materials with the desirable
of fragmentary archaeological glass to be better preserved. handling properties. A wide range of materials and methods for
priming, filling and retouching metal painted surfaces were inves-
tigated at the Getty Conservation Institute (GCI).
An Evaluation of Cold Paste Waxes Used in The study builds on previous research, in which primarily
Conservation for Outdoor Bronze Sculpture industrial paints were tested for retouching. While industrial paints
designed for the outdoor are undeniably the more durable option,
Julie Wolfe, Christina L. Simms, Alessa Gambardella, Rosie they are costly, difficult to procure in small quantities, and can be
Grayburn, Arlen Heginbotham, Herant Khanjian, Joy Mazurek, hard to apply and manipulate to obtain the desired appearance (gloss
Alan Phenix, Katrina Posner, Michael Schilling, Magdalena and color). At the GCI, artist’s- and conservation paints usually
Solano, Maria Olivia Davalos Stanton, Hope Welder employed indoors were tested instead, since they offer a number
of advantages including their ease of handling (i.e., application,
The J. Paul Getty Museum has experimented with different paste
manipulation) and their availability in small quantities at low costs.
wax coatings over the past decade for the protection of outdoor
The main focus of the study was to test a number of additives
bronze sculptures. Various commercial waxes have been used with
to enhance the longevity of the paints investigated. In consultation
noticeable changes in their performance over the years. A preferred
with paint manufacturer Golden Artist’s Colors these were: Mineral
home-made mixture was developed, starting with a blend
Spirits Acrylics (poly(n-butyl methacrylate)), Fluid Acrylics and
developed by the National Park Service, and modified to raise the
Heavy Body Acrylics (both poly(n-butyl acrylate/methyl methac-
melting point, substituting solvents, and subtraction of the poly-
rylate)butyl acrylate). Paraloid B48-N (methyl methacrylate/butyl
ethylene component. Evaluating the tactic of fine-tuning a custom
acrylate) with pigment-pastes was also included. For all paints, a
blend has turned into a more systematic evaluation of the pros and
variety of additives were tested, separately and in combination:
cons of proprietary products, lab-made paste waxes, and varying
adhesion promoters, UV-stabilizers and matting agents. A number
application techniques. This paper will present a candid summary
of paints and additives combinations were custom formulated by

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Golden for the project. To evaluate the durability of the paints The Use of Medical Chelating Agents for the
and the influence of the additives, samples with and without Removal of Iron Stains From Marble
additives were prepared and exposed to artificial and natural aging.
The natural ageing was performed in collaboration with Dow Anna Funke, Leah Poole, Jason Church, Dr. Mary Striegel, Martha
Chemicals at several of their exposure sites. For both natural and Singer
artificial aging, visual changes were recorded and FTIR-, color-
This study investigates the use of five different chelating agents
and gloss measurements were carried out at regular intervals.
and their efficacy both in the removal of iron stains as well as their
To assess the workability of the materials, local treatments were
physical and chemical effects on marble surfaces. The products
simulated on mock-ups. The mock-ups were exposed outdoors,
tested are: ammonium citrate, cysteine, maltol, picolinic acid and
to observe the long-term durability of the repairs. The data on
thioglycolic acid. One group of samples cut from Colorado Yule
natural ageing is still being gathered, but the artificial ageing
were artificially stained with iron oxide while another group was
indicated that all manipulated paints would show high outdoor
left unstained. Each chelating agent was tested at two different
durability; the modified Mineral Spirits Acrylics showed especially
pH values that were chosen through UV-visible spectroscopy.
promising results. From a practical perspective, Fluid Acrylics were
The samples were analyzed before cleaning and again afterwards.
the best performers: they are easy to handle, have high hiding-
Colorimentry, glossimetry and laser profilometry readings were
power and can be applied with an airbrush, allowing for almost
taken of all samples at each state of this study in order to establish
invisible touch-ups. The research provides technical and practical
a thorough understanding of how these chelating agents affect
information of a broad range of materials for local treatment. If
the physical properties of the marble surface and to quantify the
natural ageing confirms the positive outcomes of artificial aging
effectiveness of the chelators in removing the iron stains. Surface
than a possible application of the study could be to make the paint
readings of the pH values of the samples as well as FTIR spectra
formulas commercially available to the conservation field.
were also taken at each stage in order to gain a better understanding
of the chemical effects that the chelating agents have on the marble
surface. This study aimed to provide the data necessary to develop
Practical Evaluation and Application of Cleaning a treatment procedure for the removal of iron stains from historic
Techniques for Marble Sculpture marble that takes into consideration both the chelating agent’s
effect on the iron stain as well as on the marble substrate.
Raina Chao
Cleaning marble is an involved process that can require complex
decision-making along with multiple tests and treatment steps Well That Didn’t Work, Now What? Stain
to arrive at the desired outcome. The type of object, source of
reduction on a 10th-century Iranian ceramic
soiling, desired appearance, manner of carving and finishing,
and even the properties of the stone itself are factors affecting Claire Cuyaubère, Ellen Chase
treatment choices and results. There are many treatment options
The conservation of a glazed earthenware dish from 10th-century
for cleaning marble that can be tailored to the specific needs of
Iran in the collection of the Freer Gallery of Art was a focus of a
an object, including: vinyl erasers, aqueous solutions, chelators,
fellowship funded by the Hagop Kevorkian Foundation. Off-white
detergents, poultices, solvents, and lasers. This paper will explore
in color with minimal decoration of brownish-black and red inscrip-
the advantages and limitations of these techniques, which were
tions, the dish bore disfiguring stains along most of the joins and
investigated in preparation for the treatment of La Première Pose
had not been on view since 1982, as a result of its appearance. The
(1873-76) by Howard Roberts, a life-sized marble figure in the
current Curator of Islamic Art was interested in exhibiting the dish,
collection of the Philadelphia Museum of Art. This case study
but also concerned about the aesthetic distraction of the stains. An
will be contextualized by a literature review of published cleaning
investigation of the stains and subsequent treatment was undertaken
techniques. While the treatment of La Première Pose necessitated
to reduce their visual impact. Analyses were conducted to identify
a combination of cleaning methods executed in sequence, addi-
the nature and source of the staining, which previously had been
tional treatment examples that utilized different methodologies
believed to be due to burial materials. Although a specific material
will also be discussed, highlighting the complex nature of the
was not identified, XRF, FTIR and SEM-EDS provided clear indi-
decision-making process.
cations that the stains were instead caused by earlier treatments. The
removal of old, extensive repairs revealed some deterioration to the
glaze in areas and the presence of soluble salts. These parameters
and limitations were taken into account during the conservation
process. Various methods of stain-reduction were investigated on a
few of the most stable sherds. Of the methods deemed safe for the
object, none was completely effective at solubilizing or removing
the staining. In fact, most had little or no effect. The ceramic was
therefore treated in order to obtain a consistent appearance amongst
the sherds, with as little distraction from the staining as possible.

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After the sherds were joined back together and the losses and cracks exhibit, with particular focus on two mummies with coffins, both
were filled, several approaches to loss compensation were considered, quite fragile: ‘Minirdis’ (a Ptolemaic mummy in a re-used Late
from different levels of integration of the stained areas to covering Period coffin), and ‘Pen-Ptah’ (a Late Period mummy and coffin).
the most disfigured ones. As the treatment progressed, some pitfalls The mummy of Minirdis was lying in its coffin. CT scans showed
were encountered and the thought and decision-making processes that it had suffered one or more longitudinal shocks which resulted
had to evolve. The presentation aims to discuss the challenges of a in tearing of wrappings, separation of the legs and feet, tearing of
particularly complex treatment and the compromises that need to the shroud, and severe tearing, distortion, and fragmentation of
be made in order to ensure the integrity and safety of an object, but the decorative cartonnage panels. Visual examination showed that
also to make the object exhibitable, particularly when a treatment is wooden elements of the coffin had separated and some elements
not as successful as hoped. were lost. In addition, the clay fills used to smooth the contours of
the coffin prior to painting had swollen and were extremely friable.
The mummy of Pen-Ptah was partially unwrapped, lying on a
The Case for Cold: Using dry ice blasting to painted board inside its inner coffin. The head of the mummy was
fully unwrapped and had detached from the mummy and was held
remove lacquer coating from the King Jagiello in position by being adhered to the board. It was clear that the body
monument in Central Park had partially decomposed prior to mummification and what skin
Matt Reiley that remained on the skull was peeling away from the bone.
In this paper, we discuss the treatment and display of these
Created for the Polish Pavilion of the 1939 World’s Fair, Stanislaw two mummies and their coffins, combining as they do the ethical
K. Ostrowski’s “Polish King” has resided in Central Park since 1945. questions of restoration and respect for human remains and ancient
Treated in 1986 under the auspices of the Central Park Conservancy religious practice, in the context of a deadline-driven exhibit prepa-
(CPC), the bronze was coated with Incralac, an acrylic lacquer, to ration schedule. In particular, we look at the problems of stabilizing
protect and preserve it. In the 1980s and ’90s, Incralac coatings and restoring human remains, inverting large fragile, non-rigid
had been used on over half of the Park’s bronze monuments. The objects for examination and treatment, stabilizing and restoring
coatings have surpassed their performance life and have become painted wooden coffins, reconstructing cartonnage, and using
cross-linked and difficult to remove. While the bronzes have main- laser, computed tomography, and photogrammetric 3D imaging to
tained a tolerably good appearance, the coatings tend to obscure document object condition and design and fabricate display and
the surface condition and sculptural detail. In 2012, CPC devised travel mounts for the treated objects.
a multi-year plan to remove all the Incralac coatings. A range of
methods for the removal and the application of various coatings
have been explored. The Incralac removal methods used include
Sitting Pretty: Collaborative treatment of an early
chemical stripping, laser ablation and most recently, dry ice blasting.
The removal results inform an ongoing evaluation of the optimal Yayoi Kusama soft-sculpture chair
means for a sustainable, cyclical coatings maintenance regime on Fran Baas, Laura Eva Hartman
a case-by-case basis. While each method exhibits its benefits and
detractors, dry ice has some advantages that were found particularly This paper discusses the collaborative treatment undertaken on
promising in an urban park setting. Mock-up tests on the Polish an early Yayoi Kusama (born 1929) soft-sculpture chair by both
King fulfilled several important criteria such as rapid, non-abrasive objects and paintings conservators at the Dallas Museum of Art.
removal of the coating without generating untenable volumes of The chair is one part of Accumulation (1962-1964), a body of work
contaminated media. This paper presentation will compare each of characterized by accumulations of phallic-like soft-sculptures that
the Incralac removal methods with Central Park’s collection as case would eventually evolve to full sensory environments. This body
studies, discuss dry ice blasting operations and a summarize details of work represents Kusama’s early artistic career during the period
of an ongoing testing regime of traditional, as well as advanced when she first moved to New York City in 1958, and was devel-
corrosion inhibiting coatings and their removal and maintenance. oping in the avant-garde. Accumulation was requested for loan for a
retrospective on Kusama, and at this point its condition, treatment
needs, and travel logistics where evaluated. The chair is encased in
a network of soft stuffed fabric bundles that are painted white with
Treatment of Two Badly Damaged Egyptian a thick rigid paint. Packing the object was the primary concern due
Mummies and Associated Wooden Coffins to its complex surface; soft, yet brittle simultaneously. Structural
JP Brown, Mimi Leveque, Morgan Nau treatment of the individual fabric bundles had to be addressed
as several had been crushed and poked in the past. Networks of
The Field Museum has one of the larger collections of Egyptian large insecure cracks had formed throughout the paint layer which
mummies in the United States. In 2011 and 2012, mummies not on had also become embedded with grime and needed to be cleaned
display were CT scanned using a mobile medical CT scanner. The and consolidated. Due to the complex nature of the object, both
results prompted a temporary in-house exhibit on mummies, and painting and object conservators collaborated to develop and enact a
then a traveling exhibit. In this paper, we discuss the analysis and specialized treatment plan for this complicated and fantastic object.
treatment of Egyptian mummies in preparation for the traveling

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New Technologies Applied to Restore a 19th- The Case of the Hydrating Hydra: Examination
century Wax Medardo Rosso Sculpture and treatment of a Blaschka glass invertebrate
Lluïsa Sàrries-Zgonc model
My paper addresses this year’s central theme of innovation in N. Astrid R. van Giffen
conservation. Using a number of cutting-edge technologies, Leopold and Rudolf Blaschka were a father and son team of
I restored a damaged 19th-century wax sculpture by Italian master glass workers active in and around Dresden in the 19th
modernist Medardo Rosso (1858-1928)—titled Bambino Ebreo, and early 20th centuries. They made realistic and accurate models
and dubbed the “McArthur” cast for this project—and to structur- of hundreds of invertebrate species which they sold to schools
ally reinforce it to prevent future damage. In a 2014 exhibition at and museums all over the world. In 1885 Cornell University
Peter Freeman, Inc., New York on Rosso’s work, the “McArthur” purchased 570 of these delicate models for their teaching collec-
cast was shown alongside eleven other undamaged casts of the tion. As teaching tools, these models were frequently handled until
same work (in wax, bronze, and plaster). they were replaced by modern technologies, especially underwater
Although the “McArthur” was in a very bad condition, it was still photography. Like many Blaschka collections, the Cornell models
interesting to show it publicly because viewers were able to see were stored away and forgotten. In the 1960s they resurfaced
part of the plaster underneath the wax. The gathering of so many and were sent to The Corning Museum of Glass for safe keeping.
examples of one of Rosso’s sculptures provided an unprecedented A selection of about 70 of these models were on display at the
opportunity for scientists to take detailed 3-dimensional scans of museum until January 2017.
each cast in order to learn more about how each serial sculpture In preparation for the exhibition, the museum’s conservation
varies from its peers and in my initial consideration of the restora- team carefully examined, cleaned, and in some cases, recon-
tion, I realized we could use these scans to determine the likely structed these delicate and unique models. Although the models
original character of the “McArthur” cast. are primarily made of glass, other materials such as metal wires,
I had considered the question of whether or not to intervene shells, paper, glues, resins, and paints were also used. Time and
in the sculpture at all, given the fragility of the wax and the big fluctuating environments have caused the structurally fragile
portions of loss, and it became clear that using this 3-D technology models to suffer from deterioration of many of the components,
was the best way to achieve my goal of reconstructing the sculp- including the glass. Conservation treatments of these complex
ture’s missing parts as faithfully as possible to the original, while objects required both a knowledge of the original materials, as well
intervening as little as possible. The “McArthur” cast is made of as an understanding of their sensitivity to water and solvents. The
cast wax over an applied plaster core. The most disturbing damage extremely thin glass and the sensitive surfaces of the models neces-
was an earlier restoration of the nose. Also, the angle of the head sitated the development of innovative new treatments. Ethical,
was wrong. The metal axis on which the head was secured to the as well as practical, standards and protocols were developed for
base was tilted towards the front and for this reason, the sculpture the treatment of the models and have proved extremely effective
likely fell face first, crushing the nose and upper lip. The back of for minimally invasive cleaning, stabilization, and reconstruction.
the head had several missing areas of wax and possibly plaster. The This presentation will focus on the examination and treatment of
bottom front left had a loss. The left part of the neck was deformed one model, which underwent extensive treatment. The micros-
and detached from the plaster core, as was the left part almost copy and UV examinations of this model revealed clear signs of
at the backside of the head. After deciding which other cast was glass deterioration and provided new information about how the
the most similar to the “McArthur,” we made a 3-D head of that model was made. Treatment included surface consolidation, dry
cast in resin and then made molds of the parts that corresponded brush and solvent cleaning, re-assembly, and loss compensation
to the damaged areas of our sculpture, which were then used to with cast B-72 film. Treatments for a few other models will also be
recreate the areas of wax that had been lost or damaged. Scien- discussed to highlight additional conservation challenges.
tists had also analyzed samples of wax taken from other Rosso
sculptures to determine the various wax compositions used by the
artist. Studying their analysis and doing some experimentation in
mixing materials, I finally found the best composite with which
‘Do What’s Right’: The conservation of a David
to restore the “McArthur” cast, and by heating that material to Hammons mud sculpture
varying temperatures, I achieved a variation in color that perfectly Roger Griffith, Lynda Zycherman, Sasha Alexandra Drosdick
matched the variations in tone used by Rosso himself.
“Do what’s right,” said the artist, without looking at the sculpture
or asking what treatment we proposed. During a surprise visit to
MoMA’s conservation studio, the infamously laconic artist David
Hammons uttered these three words that encapsulate decades’
worth of conservation theory and ethical debates. What does
it mean to do the right thing in art conservation? The 28-inch
tall, unbaked clay sculpture with wire, human hair, and black-
eyed peas presents a plethora of conservation concerns. In 2013,

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MoMA acquired the sculpture in what appeared to be a dete- solution that would stabilize the work without diminishing its
riorated and unstable state. It required a Plexiglas® bonnet for its spirit was a challenge that we eagerly accepted.
inaugural exhibition at the museum in 2015. As the work was To protect the spirit, we needed to attempt to define it, which
being de-installed from that exhibition, a small piece of clay fell we did by combining tools such as X-Radiography and technical
from the sculpture and landed on its base. This event, in addition facsimiles and research into the artist’s oeuvre. Hammon’s artistic
to the work’s condition, led us to question its overall structural practice combines bits of street flotsam and debris that in a way
stability and basic conservation maintenance. responds to the urban society to which Hammons is attuned. As
An interview conducted with Hammons yielded some helpful an African American artist, he also relates his work to African
information, but left us with even more questions. When asked traditions and spiritually protective sculpture. In the end, our
how involved the museum should be in order to conserve the desire to respect the artist’s wishes and to follow our own instincts
piece, Hammons deferred to the conservators: “they are the profes- to “do what’s right” in preserving the work for future exhibition
sionals.” However, he went on to say that, “if they do too much it and study guided our treatment decisions. So, did we “do what’s
will not have the spirit.” But how do conservators ascertain “the right?” As with most conservation treatments, universal agree-
spirit” of an object without assistance from the artist? If we do ments are unlikely. Opinions and trends in art conservation are
nothing and the piece falls apart, how much spirit will remain often conflicting, and a single conservator could choose to treat
then? How far can we go to save “the spirit” without losing it? an object in a number of ways depending on the circumstances.
Without the artist’s explicit guidance, distinguishing between When David Hammons instructed us to “do what’s right,” we
his intentions and the natural deterioration of the sculpture’s were not sure if he knew what he was asking. But then again,
inherently fragile materials was challenging. However, finding a maybe he did.

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Altered States: Conservation of the Ayala This is the first ever technical examination of the painting, and
Altarpiece the first time it was unframed since 1939. The majority of the
treatment has been conducted in the highly popular “Conser-
Julie Simek vation in Action” space in the MFA’s galleries, and education
and outreach has been a key component of the project. Once
For the first time since entering the collection of the Art Institute
the examination and treatment commenced it quickly became
of Chicago (AIC) in 1928, the Ayala Altarpiece has undergone a
apparent that the original paint surface was in remarkably good
comprehensive conservation campaign to address both structural
condition. Furthermore, the very high quality of the painting
and aesthetic issues. Completed in 1396 by an unknown Spanish
indicated a true master was at work. The greatest treatment
artist, the monumental artwork is a complete ensemble consisting
challenge came from the formation of calcium oxalate on the paint
of the retable (measuring 100 x 264 inches) and frontal (46 x 115
surface, a poorly understood phenomenon that is not uncommon,
inches). Prior to acquisition by AIC, the retable’s appearance had
but very difficult to treat. Various cleaning methods, both tradi-
been dramatically altered by extensive overpaint applied in several
tional and novel, were explored. Surprisingly, therapy used to treat
restoration campaigns to mask paint loss and other damages. A
kidney stones (also comprised of calcium oxalate) may be the most
tan-colored overpaint was liberally and unevenly applied over
effective and safe treatment method. The technical investigation
the background covering virtually all the original off-white paint
led to myriad discoveries, largely due to the fact the panels had
in this area. The effect was a dramatic darkening of the overall
not been drastically altered during past treatment campaigns.
tonality of the artwork, a disruption in the harmony of the color
Construction techniques, original tool marks (including on the
palette, and a reduction in the composition’s sense of depth.
versi, as the panels have not been thinned) and information about
Additional discolored retouchings and an aged varnish further
the original frame were all revealed. Telling techniques used for
diminished the artwork’s appearance. The many challenges of
gilding, design and painting indicate a Cretan master was at work,
the treatment included removing the tenacious overpaint, filling
while the construction methods, and materials suggest an Italian
the extensive paint losses, and judicious inpainting to reintegrate
workshop, possibly in Venice. Collaboration with various scholars,
the composition. Logistical issues faced during this large-scale
conservators, and scientists have brought us a long way towards
project will be discussed as well, such as the handling of the three
understanding this mysterious and monumental work.
components that make up the retable, each weighing roughly 300
pounds, and the installation of the altarpiece in the museum’s new
The Deering Family Galleries of Medieval and Renaissance Art,
Arms, and Armor that opened in March 2017. This paper also Mapping a Way Forward: Bringing an artwork
presents information on the altarpiece’s construction and materials back from self-destruction
as determined by technical examination and scientific analysis.
Analysis of the various paint layers confirmed the original paint Per Knutås, Samantha Springer
binder to be egg tempera while the overpaint was found to be In 2009, The Cleveland Museum of Art (CMA) purchased the
oil-based. Of particular interest were the discovery of the wide- sculpture titled Mapa estelar en árbol by contemporary Mexican
spread use of ultramarine paint throughout the composition and artist Gabriel Orozco. While the work was described as resur-
the presence of oxalate-rich surface layers that contributed to the recting an old-Master technique, the application of the historic
darkening of some paint colors. materials was anything but. In construction, the work resembles a
panel painting, but that the panel is a 30-40 cm thick cross-section
of a mango tree trunk almost 70 cm in diameter and sits on the
The Monopoli Altarpiece: Rediscovery and floor as a sculpture for viewers to walk around. Another deviation
recovery of a Cretan-Venetian masterpiece from panel painting is that instead of decorating the tangential
surface of the wood, it is the end grain that bears the design. The
Caitlin Breare artwork comprises wood, with canvas, gesso and graphite incised
with a geometrical sgraffito design on the front and a waxy coating
Since 1937, the MFA has owned an enigmatic polyptych from the
on the back. However, the presence of the canvas was omitted
early 15th-century that reflects both Italian and Byzantine artistic
from any description and materials listing from the artist and
traditions. The altarpiece is large and imposing, and would have
gallery. Another discrepancy in the materials included the white
been an exceedingly costly commission. Yet little is understood
ground, which was described on different occasions by the curator,
about why this unusual combination of a Cretan painting style in
artist, and gallery as gesso, dead plaster (possibly slaked lime), and
an Italian format altarpiece came to be used in such an important
calcium sulfate (plaster) and animal glue.
commission. Known to be from the Church and Abbey of St.
Upon arrival to the museum just months after its premiere
Stefano in Monopoli, a town in Apulia on the heel of Italy’s boot,
showing in Mexico City, several areas of fine cracking and the
little was understood about where the painting was produced and
beginnings of delamination were already noted on the painted
by whom. Relegated to storage since the 1960s as its condition
surface. The sculpture was placed in storage at a stable 50% RH
rendered it unfit for display, the monumental seven-panel
and upon examination a year later the surface displayed a signifi-
polyptych became the subject of a major treatment and research
cant change in appearance. The canvas was buckling with apparent
project begun in 2014, funded by the Lingos Family Foundation.
shrinkage of the wood and large areas of gesso were being pushed

2017 AIC Annual Meeting Abstracts

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off the surface with the cracking exponentially increased. A horror dismounting the painting. What had been initially considered
to any collection steward, the work was no longer exhibitable. The damage transformed into traces of use, and they needed to be
gallery was notified and it was decided that the piece should be preserved for further study of this rare type of painting.
sent back to Mexico City for examination and for a discussion Finally, it was decided to perform treatments only on aspects
with the artist. that made difficult the understanding and appreciation of the
Negotiations between the CMA, gallery, artist, and fabri- image or were producing material damage: elimination of the
cator (also a conservator) led to a decision that the conservator/ yellowed varnish, application of welded stitches to tears, leveling
fabricator in Mexico City would attempt restoration knowing of the surface, chromatic integration and application of a new
that CMA paintings and objects conservators deemed the work protection layer. Since this is one of the few paintings of this type
beyond conservation and that any intervention was going to be known in Chile so far, the idea is that when it is finally exhibited,
visible and show previous damage. The CMA reserved the right the public will be able to see the specific characteristics of a
to reject the restored work based on appearance and would not hanging scroll painting.
accept the work remade in the same manner as the original. The
fabricator’s effort was not successful and the design elements were
removed. An alternative approach to remaking the work was Color Field Paintings and Sun-Bleaching: An
presented by CMA conservators prior to the treatment campaign
that could potentially maintain the desired appearance but would
approach for removing stains in unprimed canvas
diverge from the “traditional” materials chosen by the artist. The Jay Krueger, Holly Krueger, Julia Langenbacher, Thomas Learner,
conservation efforts that followed were a result of several rounds Alan Phenix
of material testing and treatment discussions and collaborations
with the gallery, artist, and fabricator. An overview of the testing This talk presents a method for removing certain types of stains
process, the conservation intervention, level of collaboration and general discoloration in the unprimed canvas of color field
and involvement, and ramifications to the artist’s intent will be paintings from the 1950s and 1960s. Building upon a well-
discussed. established body of research and publication in the field of paper
conservation, aqueous sun-bleaching has become widely accepted
as a reasonable and valuable method to consider when stain
reduction in works on paper is desired. These techniques have been
Our Lady of Mercy: The discovery of a hanging modified and scaled for use in treating color field paintings by
scroll painting by José Gil de Castro Helen Frankenthaler, Morris Louis, Kenneth Noland, and other
artists who employed staining techniques of paint application.
Monica Perez
The case for approaching stains in an overall manner and avoiding
The painting “Our Lady of Mercy with St. Peter Nolasco and St. local aqueous treatments is made, the general parameters of the
Raymond Nonnatus” signed by artist José Gil de Castro and dated sun-bleaching treatment outlined, and a preliminary analysis of
in 1817, arrived at the Paintings Conservation Laboratory of the the canvas and paint media before and after treatment is described.
National Center for Conservation and Restoration in Santiago,
Chile, for treatment during 2015. Peruvian artist José Gil de
Castro lived in Chile and Argentina in the first decades of the Using Butvar® B-98 as a Consolidant for Friable
XIX century, depicting the colonial Spanish aristocracy at first,
and the leaders of the independence of these countries later. Given
Matte Paint
the importance of this artist to Chilean painting, this work was Claire Winfield
chosen to be included in the exhibition “José Gil de Castro, artist
of Liberators” that would open some months later at the Fine Arts Butvar® is the trademarked name for a series of polyvinyl butyral
Museum in Santiago, Chile, with paintings belonging to collec- (PVB) resins used in a wide variety of industrial applications, most
tions from Chile, Peru and Argentina. notably in laminated safety glass. Commercially, PVB resins are
The painting as well as the frame show some damage. Small used as adhesives, coatings, and binders and are valued for their
losses and big horizontal distortions were observed. The lower optical clarity, adhesion to varied surfaces, rheology, toughness,
section, where the signature, date and text are located, presented and flexibility. In conservation, Butvars have been used primarily
long horizontal tears. There were also areas where the writing was for the consolidation of deteriorated wood, but also for consolida-
confusing and difficult to read, and overpainting on top of the text. tion of stone, plaster, bone, fossils, and baskets. This paper will
The varnish was quite yellow. The painting was not attached to a review the properties of Butvars and their conservation applica-
stretcher, but nailed to a plank of wood. After it was dismounted tions and will present two treatments of paintings in the collection
and analyzed, the team working on it realized it was not a regular of the Saint Louis Art Museum in which Butvar B-98 was used to
easel painting, but a hanging scroll painting, as several others consolidate friable matte paint.
that are shown on different portraits made by Gil de Castro. On The first case study, Enforcer, 1962, by Larry Poons, was created
them, a small painting of a Virgin or Christ hangs on the wall, with Liquitex acrylic paint and Fabspray, a proprietary fabric paint
behind the person portrayed. This discovery changed completely with vinyl and alkyd resin binders marketed for spray-painting
the treatments that have been considered at the beginning, before upholstery. While the acrylic paint was in excellent condition, the

Paintings
51
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Fabspray was matte, highly deteriorated, and powdering off the with two priming layers and a layer of spray-applied white paint.
surface of the canvas support. Several consolidants were evaluated, He completed Mexico #3 on November 11, 1976, the day he died.
including Butvars of varying molecular weight, gelatin, and meth- Mexico #3 was the design Braniff chose to transfer to one of their
ylcellulose. Butvar B-98 performed best and was sprayed in several Boeing 727-200 aircrafts.
applications to consolidate the friable paint layer with minimal Braniff Airways had previously commissioned two other full
change to the surface sheen and gloss. scale airplanes designed by Calder: The Flying Colors of South
The second case study, Micenic, c. 1942, by Siegfried America in 1973, and Flying Colors of the United States in 1975,
Reinhardt, is a small oil painting on pressed board. The paint layer which was rolled out in 1976 for the United States Bicentennial.
had poor cohesive strength and was lifting from the underlying Braniff Airways officially unveiled Mexico #3 in 1977 in Acapulco
ground in local areas. Typical consolidation approaches were where it was dubbed “Salute to Mexico,” with the expectation, at
unsuccessful due to the friability of the paint, which crumbled that point, to still transfer the design. Braniff ultimately decided
under any pressure or contact. Butvar B-98 was applied to improve not to transfer the design since Calder would not be present to
cohesion of the paint film and was followed by dilute BEVA® 371 supervise or to complete any details, as he had done on previous
to set lifted paint flakes back in place. Application techniques and aircrafts.
solvents were selected to ensure that the BEVA did not undermine In early 2016, I examined the privately-owned Mexico #3
the Butvar, and the two-step consolidation proved successful both for conservation. The model had accumulated a layer of grime,
structurally and aesthetically. and had scratches and other damages. The dirt layer obscured a
varnish layer that had been applied after a number of scratches
and damages had occurred; these included a couple of larger
When the Dog Bites: Tear mending a large Steven losses to one of the wing tips. Film and photographs of Calder
working on Mexico #3, recorded by Braniff Airways, documented
Parrino painting following a dog attack Calder’s working processes and the model upon completion.
Laura Eva Hartman Photos taken of the model at the 1977 event in Acapulco show
several scratches which had occurred since Calder completed the
Steven Parrino (1958-2005) actively deconstructed painting. His model. These records were instrumental to treatment decisions.
technique was radical and chaotic, involving a performative aspect The three-dimensional nature of this painted object required an
of folding, ripping, bending throwing and slashing painted and interdisciplinary approach to treatment. The historical significance
raw canvas. The Dallas Museum of Art was recently gifted Black of this model in Calder’s oeuvre, and range of materials, merited
Surf (2003), a large painting iconic to Parrino’s style, represented technical analysis to gain an understanding of the artwork.
by black glossy painted cotton duck fabric folded and twisted Together with the University of Rochester (URNanocenter)
to create a three-dimensional composition. However, prior to and Ralph Wiegandt, conservator and research scientist, we have
receiving the painting at the museum, a large section had been applied advanced analytical techniques to analyze the composi-
ripped to shreds along one of the canvas folds. The damage was tion of the gouache and underlying support layers of Mexico #3.
not caused by Parrino, but by the donor’s dog who had become Using scanning electron microscopy (SEM) and focus ion beam
startled during a thunderstorm and attacked the painting. This (FIB) milling to analyze cross sections in SEM by energy disper-
paper discusses the ongoing conservation treatment and decision sive X-ray, and further by thin section extraction for transmission
making process for this painting, focusing on the torn area. Tradi- electron microscopy (TEM), we achieve elemental analysis at
tional Heiber tear mending was used as a base treatment technique very high resolution. This technique offers greater precision than
and evolved for the specific needs of this non-traditional painting. the more commonly used scanning electron microscopy (SEM).
Textile conservators were consulted during this treatment, proving The results of this study will be beneficial in future treatments of
to be a fulfilling and necessary collaboration. Calder’s Braniff models and other works by Calder.

Conservation of Alexander Calder’s Last Work Conservators as Collaborators: Working with

Mexico #3: The cross-disciplinary treatment artist Dan Colen
supported by SEM and TEM paint cross-section
Suzanne Siano
analysis using focus ion beam (FIB) sample
preparation In 2014, “Help,” an exhibition at the Brant Foundation of work
by Dan Colen was installed. The exhibit included Colen’s works
Sara J. Wohler, Ralph Wiegandt in a wide range of media including glass, found objects, oil paint,
Braniff Airways commissioned Alexander Calder to paint designs flowers, chewing gum, Styrofoam, crack pipes and parakeets. The
for a Boeing 727-200. Calder worked up four 1/25th scale model parakeets were part of an installation of a trash “nest” in a room
plane designs to commemorate relations between the United States adjacent to Colen’s Gum paintings. Curtains made of strung crack
and Mexico. Calder painted his design using blue, red, yellow, and pipes were installed to keep the birds within their designated
green gouache on a fiberglass model delivered to him, prepared gallery. By the time the exhibition closed -- and beckoned by
the sweet scent of the gum -- the birds had managed to escape

2017 AIC Annual Meeting Abstracts

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 PAINTINGS

their gallery, parted the curtains and found a new happy place of friends who were leading figures in the arts and humanities
perched on and fluttering about the Gum paintings. The artist of France, Italy and England. To date, most art historians have
had no problem with this; the collector, on the other hand, did. focused on the biography of Romaine Brooks and the theme of
This event was a reminder of what the conservator of modern sexual identity. This paper will review the painting technique of
and contemporary art faces today. As artists of this and the last Romaine Brooks based on the examination of over 25 paintings
century have explored and exploited materials, the definition of and the conservation of 18 paintings for the exhibition “The Art of
a “painting” has broadened. Butterfly wings, dust, urine, chewing Romaine Brooks” held at SAAM in 2016. Concepts of modernity
gum, and a host of other materials pose new challenges to today’s in painted subjects and formal composition will also be discussed.
paintings conservator. The preservation of these materials requires Brooks’ interest in framing is found in her delineated borders
conservators to be problem solvers and collaborators while staying on paint surfaces and exemplified in the sophisticated frame
grounded in the ethics of our profession. finishes found on many of her frames. Parallels between the work
Since 2013, conservators at Modern Art Conservation have of Romaine Brooks and Whistler are found in the approach to
worked closely with artist Dan Colen. With the help of a large framing and also the role of the artist in designing gallery exhibi-
crew of assistants, Colen orchestrates the creation and produc- tions. Romaine Brooks was known for her interest and talent in
tion of multiple bodies of work. He uses both traditional and interior decoration and design and it is clear that her paintings and
unorthodox materials such as chewing gum, tar, feathers, flowers drawings were integral to the aesthetic environments she created
and lipstick to express his artistic vision and push the boundaries in her various homes.
of what constitutes an art material. In this quest, he, his assistants, Brooks’ knowledge of painting materials and techniques must
and gallery have realized the importance of collaborating with have come from an academic setting. In 19th-century England
conservators. With Colen’s rise in the art world have come chal- and France, a significant amount of published information on
lenges to balance his exploration of materials and the active market painting technique existed. How much of this Brooks read and
for his works with the responsibility that is upon those who sell, how much she engaged in discussions about painting practice is
collect and exhibit his works. To accomplish this, the relationship not known. Examining her paintings indicates that in practice she
between the artist and conservator has quickly grown. The conser- appears to have adopted her own approach to toning grounds and
vator’s role is as technical advisor and resource, devising creative building up glazes. Brooks’s use of resin mixed with oil in many of
solutions and providing materials information that can extend the her paintings has made cleaning virtually impossible. Reasons for
life of some of the more unpredictable materials Colen employs why Brooks chose to use the mixture of media will be explored.
while striving not to impede upon the artist’s creative process. The effects of altered colors will be evaluated in relation to
This paper will address several projects on which we have paintings that do not have admixtures of resin to oil. The approach
worked together and the conservator’s role not only in restoring to conserving paintings for the recent exhibition will be presented.
works that have already been made but also in providing technical The conservation history of the paintings in the collection at
advice in the creation of new works or when continuing a series. SAAM will be discussed in relation to other works by Brooks in
Reconsidering supports, media, and process has led to changes that Paris. Recent choices made regarding cleaning, varnishing and
aim to sustain the artist’s intent. The paper will explore how the retouching will be presented. The approach to lighting design in
artist’s working methods and his consideration of the alteration the recent exhibition will also be discussed as different filters were
and preservation of his works have changed since working with used to help reduce the perception of an uneven yellowed resin in
a conservator as well as the role of the conservator in providing the paintings.
condition information and best practice requirements during or
after the sale of Colen’s work.
What the Folk Happened to Kitty James and
other Folk Tales
Conserving the Paintings of Romaine Brooks
Nina Roth-Wells
Tiarna M. Doherty
In summer of 2016, the Colby College Museum of Art mounted
Romaine Brooks (1874-1970) was an American expatriate living the exhibition “A Usable Past: American Folk Art.” This collection
in France for most of her life. She exhibited at the Galleries of early American folk art is very significant to the Colby Museum.
Durand-Ruel in Paris and was awarded the Cross of the Legion A majority of the works in this exhibition belong to the American
of Honor in recognition of the service her art had rendered to Heritage collection of Edith and Ellerton Jetté, one of the earliest
France. The largest body of her work is in the collection of the collections to enter the Colby College Museum of Art. Many of
Smithsonian American Art Museum (SAAM). Brooks embraced these works had not been displayed for years and most were in
a 19th-century romantic mythology of a struggling artist even need of extensive conservation treatments. Paintings in the collec-
though her wealth and independence allowed her the freedom to tion had either received very little or no conservation in the past,
explore both painting and drawing media for personal expression. or they had fallen prey to overzealous restoration attempts.
Brooks was able to travel abroad and set up temporary studios to The conservation goals for this exhibition were very ambitious
her specifications in order to paint a portrait of someone when it as over twenty paintings were conserved in just under two years.
interested her. Romaine Brooks’ paintings are primarily portraits The Colby Museum does not have a conservation laboratory or a

Paintings
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 PAINTINGS

conservator on staff. Like many smaller New England Museums, Clues from the X-radiograph, and consultation with curators
the Colby Museum relies on the expertise of conservators in private versed in early American fashion, indicated that the sitter’s original
practice. Typically, conservators in private practice form strong neoclassical dress was from a much earlier period than the Victorian
relationships with the institution and collection, but rarely do they garment painted over it. Similarly, long painted locks concealed a
have the opportunity to work closely with so many paintings for neatly cropped hairstyle, fashionable for girls in the very early 19th
one exhibition. The scope of this project allowed for the conserva- century. After careful consideration both conservator and curator
tion needs of many of the early 19th-century folk paintings to decided to uncover the earlier composition.
be assessed in a thorough manner by both the conservator and
curator, thus allowing for conservation planning from the onset
of the exhibition. This paper will describe how a conservator in A Colonial Portrait and a Mystery
private practice worked with museum curators and registrars to
manage and plan several conservation treatments. Challenges Rustin Levenson, Emily MacDonald Korth
included assessing what type of treatments could be performed Conservators are often asked to discern the artist of a work, but
on site at the museum and what types of treatments were too rarely are we required to identify a subject. In a unique treatment,
complex, thus necessitating transport of paintings to the conserva- undertaken at ArtCare Miami, we were asked to do just that.
tion studio. Treatments ranged from simple surface cleanings to Button Gwinnett was an elusive signer of the Declaration of
major structural treatments, including linings of paintings with Independence. Killed in a duel one year after the Declaration,
signatures on the reverse. his signature and image have been sought after for many years.
During the course of the treatment of a portrait of Kitty James A portrait from Georgia, his home state, was attributed to the
by Ezra Ames it became apparent that drastic changes had been Colonial artist Jeremiah Theus, and was purported to be of Button
made to the dress and hairstyle of the sitter. This discovery neces- Gwinnett, but the image of the sitter was obscured by layers of
sitated a close collaborative approach between conservator and discolored overpaint. An inscription on the reverse, first analyzed
curator. In order to examine compositional changes X-radiography by Sheldon Keck in the 1950s, was problematic. The search for
was necessary. Fortunately, the local hospital performed digital the identity of the portrait involved conservation treatment,
radiography of the painting at no charge, allowing a small institu- discerning numerous previous treatments, art historical and
tion with no technical analysis equipment or in-house conserva- historical research, scientific analysis, and FBI aging of a portrait
tion staff to perform X-radiography. This informed the treatment of Button Gwinnett as a youth.
of a significant early American portrait by a noted artist, and also
prompted a re-identification of the portrait’s subject.

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Respect for Photographs: An exploratory study The Fiocruz Collections: Discussing the
of the public attitudes towards different kinds of preservation of its photographic archives
photo restoration Nathália Vieira Serrano
Andy Song, Kathryn Zeng This talk results from research carried out by the author for her
Museums today are more connected with the general public Graduate Certificate in Preservation and Management of the
through their diverse exhibitions, education programs, and Science and Health Cultural Heritage, at Fundação Oswaldo Cruz
cultural activities. The conservation department, however, often – Fiocruz. It discusses the “incorporation” and “disincorporation”
stays behind the scenes. In the last few years, there have been a of archival documents, proposed by Fiocruz institutional policies:
growing number of museums that expose their conservation lab Política de Preservação e Gestão de Acervos Culturais das Ciências
to visitors, such as using glass walls, to further understanding of e da Saúde and Programa de Incorporação de Acervos. The talk
what conservation is and what it is meant for. For example, the discusses the need of balance between objective and subjective
conservation lab for mummies at the University of Pennsylvania criteria in the assessment of archival documents. It also stresses
Museum of Archeology and Anthropology has been a successful the importance of the trans-disciplinary research as an alternative
example for introducing historical and cultural knowledge about to this duality, as well as the significance of the stakeholder to
Egyptian mummies from a different perspective, and winning this discussion. This research is now being applied to the evalu-
acknowledgement in return from the public for their expertise and ation of the state of conservation of a collection of photographic
efforts in preserving human heritage. A deeper appreciation is also documents that was initially separated to be discarded. After this
developed for the exhibits set up by the museum. evaluation, the author will propose a further assessment that
The exploratory study reported in this paper is designed to considers the institutional guidelines as well as the opinion of the
understand museum visitors’ attitudes towards historic photo- non-conservation technical staff of our institution.
graphs, when images are restored in three kinds of conditions.
During the 1960s and 70s, when conservation of photographs
first started, restoring the image of historic photographs through Moonlight and Midnight: The evolution of
chemical treatment was often considered necessary for the pres- Edward Steichen’s ‘Moonrise’ prints
ervation of the image information. As the field moved forward,
this practice became much less common due to ethics discussions Kaslyne O’Connor, Ariel Pate, Sylvie Pénichon
and good practice. Yet the desire to have a photographic object Known as the quintessential painter-photographer, Edward
in a relatively better condition for display has remained a factor. Steichen combined artistically renowned compositions with an
Thanks to the development of digital technology, alternatives have excellence in technique and experimentation. He often created
been offered to enhance the photographic image without applying multiple versions of a print in order to test out the subject matter
chemical treatments. using different combinations of colors and effect. Two gum-
In this study, a 19th-century albumen print with a degree of platinum prints by Steichen, from his 1904 “Moonrise” series
fading and other common problems was prepared in three condi- in the collection of the Art Institute of Chicago, illustrate his
tions using image restoration. 1) A high-resolution scan is made, experimental attitude. Though they appear to have been printed
then treated digitally for enhancement. 2) A digital negative is made from the same negative, each displays unique characteristics, color
from the high-resolution scan and an albumen print is made with palettes, orientations, and titles. Historically, very little was known
the digital negative, following the contact printing process of the about the composition or creation of either of these two large-
19th century. 3) Chemical treatment is applied to the original print format photographs. To understand the individual elemental and
for image restoration. All three processes were video recorded and material variations within these prints, and to compare known
shown alongside the images to a group of participants recruited processes to those described by the artist in a correspondence,
for the study in the Northeastern United States. Their responses X-Ray Fluorescence and Fourier Transform Infrared Spectroscopy
were collected through interviews and a questionnaire survey and were performed. Characteristic signals for Prussian blue, platinum,
analyzed both quantitatively and qualitatively. chromium, iron, and lead were detected in both large prints. One
A historic photograph is a work of art, an object of historical of the works also showed clear signs of an applied varnish, which
importance or of sentimental attachment. The image it carries and at the time was only traditionally applied to paintings. This paper
the process that made it contain so much information that unfor- proposes a tentative timeline for the creation and alteration of the
tunately seems to be more distant from people’s understanding works, based on the results of chemical and visual analysis and
of photography due to the spread and dominance of digital art historical research. The understanding of these two mystifying
photography. The results of this study show that the participants artworks has been significantly expanded due to the material
found it educational and inspirational to know how a historic analysis of these objects.
photograph was made and what it might change under different
circumstances. Such information helps them develop a respectful
view about photo collections and their caretakers.

Photographic Materials
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New Original: Reprint in fine art photography covers of the slides. Aesthetic reintegration was carried out in
transmitted and reflected lighting conditions. The multi-faceted
Hanako Murata, Peter Mustardo, Tatiana Cole, J. Luca Ackerman system, re-creating a slide, adapting new techniques and aesthetic
Historically, the status of a photograph as an “original object” work carried out in different lighting conditions provided the basis
has been controversial in the field of fine art due to the nature of for the conservation treatment of these slides. This paper repre-
the negative/positive process itself. In other words, there can be sents a significant contribution to an area of conservation that
multiple original objects. In recent years, “reprints” have emerged has very little existing literature. The recreation and conservation
much more frequently in the world of fine art photography. This treatment of these slides provides a better understanding of these
complicates the notion of the original and challenges conserva- objects and, in turn, their future preservation and conservation.
tors, curators, galleries, collectors, artist’s estates, and contempo-
rary artists to define the “original” object in photography. Some
reprints are not printed on the same photographic paper, nor even Bellmer: Complexities of the doll
with the same process as the original object. Yet, the movement of
creating “reprints” seems to be gathering momentum and is likely Krista Lough
to continue into the future. We will certainly come across more of Hans Bellmer (1902-1975), a German draftsman working in
these prints being put forward as “new” originals. This paper will his own advertising company in the 1920s, strongly opposed
discuss some of the issues and questions surrounding “reprints” in Nazi fascism. In response to the Nazi Party, he stated he would
fine art photography from the conservator’s perspective as of 2017. no longer make work to support the new German state. In his
Further discussion will be centered around examples of reprinted revolt to German idealism, Bellmer constructed life-sized female
objects, the reasons why reprints were made, who authorized dolls of which he photographed in provocative poses. The Nazi
the reprints, the need for identification and labeling, the value Party declared Bellmer’s work “degenerate” so he fled Germany
of reprints versus originals, the possible impact reprints have on and moved to Paris where he was welcomed by the Surrealists.
understanding original prints and artist works, and what is an Bellmer’s photographic production was not very large, with only
original print in photography. around 150 images. Most of Bellmer’s photographs are small in
size and often delicately hand-colored. Bellmer produced fewer
than thirty large prints, many of which were mounted to board
The Re-creation and Conservation of and nailed to paintings stretchers. These “stretched” large prints
Megalethoscope Slides were often hand-colored and exhibited in a style similar to
paintings. In 2014, the Art Institute of Chicago acquired one of
Monique C. Fischer Bellmer’s large doll photographs. The photograph is mounted to
board, airbrushed overall, and overpainted with white gouache. It
The rarity of Megalethoscope slides and their viewers provided us
is missing its original stretcher although it still bears the holes from
with a conservation challenge: How does a conservator treat an
once having one. The piece has several areas with missing airbrush,
object when there is a lack of contemporary or historic information?
giving the print areas of differential gloss. It has some large areas
Does one consult a photograph conservator or objects conservator to
of loss and abrasions, which go through the print, making the
conserve an albumen print mounted onto a curved wooden frame?
brown mounting board visible. This paper will discuss the consid-
What type of collaboration is needed for this project? These are
erations, limitations, and outcomes involved when treating this
the questions that arose when the North Hampton (NH) Historic
rare, susceptible, one-of-a-kind photograph.
Commission brought in a collection of fourteen Megalethoscope
slides to the Northeast Document Conservation Center (NEDCC)
to be evaluated and examined in early 2014. The paper addresses
the questions above and provides a multifaceted approach to the Current Trends and Collaborations among
conservation and understanding of these lesser-known photographic Heritage Institutions in Latin America: Results
materials by 1) re-creating a Megalethoscope slide 2) adapting new of the APOYOnline 1st Heritage Preservation
techniques from other specialties such as mending procedures used
for Japanese panel screens and 3) creating fills and inpainting for
Regional Conference and Workshop on
viewing in transmitted and reflected light. Photographic Conservation, Fundraising &
The re-creation of the Megalethoscope slide was undertaken Advocacy
with Mark Osterman, Photographic Process Historian at the
Beatriz Haspo, Amparo Rueda, Debbie Hess Norris
George Eastman Museum (GEM) in Rochester, NY, with funding
from FAIC Individual Professional Development Scholarship From August 30 to September 2, 2016, leading preservation
Award. There were no period instructions on making mounted professionals representing 15 countries from Latin American, the
Megalethoscope slides. As a result, this two-day tutorial was Caribbean, and Spain met in Medellin, Colombia, as part of the
primary research into the construction of these unique objects. first-ever international conference organized by APOYOnline –
Mending techniques used on Japanese panel screens were learned Association for Heritage Preservation of the Americas. Founded in
from colleagues with in NEDCC’s Asian art conservation depart- 1989, formerly APOYO, has been deeply committed to strength-
ment and adapted to stabilize tears in the paper supports and dust ening exchange and global professional networks, sharing technical

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information in conservation across Latin America and the Caribbean Preservation of Photography in Cuba as a
region. This conference included 14 papers, 24 posters, special Historic Memory of its Evolution
guests lectures on Fundamentals of Leadership and International
Alliances in Latin American for heritage preservation professionals, Gloria Alvarez Frigola
the exhibit of products of preservation, and an APOYO Vision
As everybody knows, conservation of any kind of collection is a
2020 session to discuss future collaborations and activities. Partici-
requisite to assure its perdurability in time. However, this is not
pants attended a four-day workshop on photograph conservation,
enough without an integrated management, to allow the social-
fundraising, and advocacy ministered by Debbie Hess Norris. This
ization of the collection so it becomes part of the shared historic
paper highlights the contents and results of the conference.
memory. Photography constitutes part of the visual and documental
The presentations showed the current Heritage Preservation
heritage of a country. This specific technique, relevant by its objec-
trends in Latin America. Several presentations focused on how
tivity, historic and cultural values, chronicles the human experience
Preventive Conservation and Risk Assessment activities have now
with an expressive and comprehensive message, through the visual
superseded the focus on the conservation treatments of the past.
record of a cultural identity. The mission of the Photo Archive of
There are several collaborative projects in progress among institu-
the Office of the Historian of Havana (OHCH), founded in 1993,
tions of the region and critical research shared thanks to the support
is to protect the graphic memory contained in its collections. Its
to APOYOnline. The lack of support and funding from govern-
holdings include more than 180,000 objects, including images and
ment institutions has not stopped professionals from carrying out
technological devices used to produce those images. They comprise
massive projects such as packing and moving a large photographic
the majority of photographic processes. This extensive archive
collection, using local materials and a great deal of ingenuity and
represents the fact that Cuba was the first country in the Americas
resolve. The use of social media (APOYOnline Facebook page and
where photography was practiced and the first one to commercialize
Twitter) has increased tremendously, facilitating the exchange of
this form of art. This justifies the creation of a center that would
critical research information, upcoming events, funding strategies,
become leader in conservation of photographs in the country,
new directions on education and training, resulting in the identifi-
studying its evolution since it came to Cuba. The strategic proposal
cation of potential areas for collaborative work with AIC members.
for the center, formulated by the author, is to display photographic
Professionals who attended this conference are very interested in
collections (resultant image) and the technological devices to obtain
forming alliances with institutions in North America to do joint
them, as they relate each other. The integral management of these
research projects, and in hosting North American interns to foster
collections requires specific studies to obtain, not only a consistent
and strengthen professional ties.
museological proposal, but also develop conservation policies, to
After the conference, a collaborative agreement between profes-
formulate a methodology for the conservation treatment of photo-
sional of three different countries was formalized to study the use of
graphic collections and display of the collection.
cleaning gels in murals. APOYOnline received proposals for MOUs
from three important heritage institutions in Central and South
America to establish training opportunities, professional exchange,
research opportunities, and plan the next steps to host the 2nd Pilot Project to Treat Photogravures on Gampi
APOYOnline Meeting in 2018. The participants represented major Paper from Edward Curtis’ ‘The North American
collections and holdings from cultural institutions from Argentina, Indian’
Brazil, Chile, Colombia, Cuba, Dominican Republic, Ecuador,
Guatemala, Honduras, Mexico, Peru, United States, Uruguay, Rachel Danzing, Ann Baldwin
Venezuela and Spain. The meeting was sponsored by important In 1907, Edward S. Curtis, with seed money from financier
North American and Colombian institutions and foundations, and collector J. Pierpont Morgan and support from President
private donors, and vendors of conservation products. The confer- Theodore Roosevelt, began a herculean undertaking to publish
ence received media coverage in Colombia, Dominican Republic, “The North American Indian.” A tribute to the “vanishing race,”
Honduras, and Uruguay in addition to social media sites. The this monumental project had as its goal the documentation of
impressive response to the conference reiterates the importance of all major surviving Native American groups living in North
promoting professional networking and professional development America. Each deluxe set included twenty bound volumes of
in the Latin American and the Caribbean region. APOYOnline is Curtis’ extensive text, illustrated with about seventy-five copper
very proud to be the leader of this initiative. plate photogravures made from his photographs. In addition,
each volume included twenty folios of larger gravures, only a
small percentage of which were printed on Japanese gampi paper,
the subject of this study. While most volumes of Curtis’ monu-
mental project are in various institutional hands, a photograph
conservation studio received a rare set from a private collector
in 2014 that would benefit from treatment to remove stains and
distortions.
The set comprised 722 copper plate photogravures printed in
brown ink, each presented in a Van Gelder Zonen paper window

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mat, and tipped onto a one-ply backing embossed with the stamp were further refined after a survey of the Nudes in the collection of
Cranbrook Institute of Science. A pilot project began with an the Metropolitan Museum of Art, and following an interview with
initial sample group of ten representative gravures, window mats the printer, now in his 90s, who worked with Penn on the Nudes.
and backings, selected with the goal of establishing a reproducible The hypotheses sought to explain both the general technique and
treatment protocol for the entire set of 722 prints, cost estimates the specific chemistry that was used. Ultimately two bleach-and-
for materials and labor, and a time schedule for conservation redevelopment process were tested, as well as one process using
treatment and re-housing. This paper describes the challenge of bleaching alone.
finding a treatment that allowed for the washing and drying of This paper outlines the evidence in favor of each of these
these extremely thin and reactive gampi papers while retaining three darkroom techniques, including historical information, the
their characteristic smooth and lustrous texture. Past research on chemical mechanisms of each, and the results of replication experi-
the treatment of gampi papers was reviewed and incorporated ments which have been performed for each process. Preliminary
into the trials. Washing techniques tested included float washing, XRF measurements are also presented. XRF has shown potential
immersion washing, and light bleaching in variously-adjusted, as a method for identifying certain bleach-and-redevelopment
deionized water solutions. Drying techniques tested included: treatments whose chemistry may leave elemental markers in the
friction drying between a variety of tissues and papers; drying finished print, possibly in the form of non-silver image material.
between various materials such as ragboard, polyester (Mylar), Tentative results will be presented, as well as areas for further
cotton blotters, felts, and two types of fabric membranes - a exploration. The research conducted thus far has contributed to
polytetrafluorethylene film (Gore-tex), and a polyester/nonwoven a more complete material understanding of the Nudes series and
material (Sympatex); and stretch drying the gampi tissue between is an example of how such work can complement art historical
lining papers, adhered at edges, to a smooth countertop. The investigation.
trials produced a range of results - some very good, but none
that completely achieved the desired drying results, i.e. returning
the surface texture to its original appearance. During testing, Providing Access to ‘Overprotected’ Color Slides
the authors consulted with several colleagues for suggestions on
expanding and refining methodologies. The collaboration led Diana L. Diaz-Cañas
to a satisfactory treatment method, a variation on a hard-soft Arnold Newman (1918–2006) is considered the father of the
drying package, which is described in this paper. Sustainability of environmental portrait and one of the most influential photog-
materials was also considered in a final recommendation. raphers of the 20th century. He published numerous books and
his photographs were frequently published in magazines such as
LIFE, Time, Scientific American, Vanity Fair, Harper’s Bazaar, and
Uncovering Irving Penn’s Chemical Treatment The New Yorker, among many others. His work is part of major
Techniques museums and private collections within the United States and
around the world.
Laura Panadero In 2006, the Harry Ransom Center, University of Texas at
Irving Penn printed a series of gelatin silver photographs in 1949 Austin, acquired Newman’s archive. Composed of 307,923 items,
and 1950, titled the Nudes. Regarded as a departure from the the archive contains negatives, color transparencies, original
smooth, sleek forms and thin models of his fashion photography, contact sheets, a selection of more than 2,000 prints, Newman’s
these photographs were a chance for Penn to revel in the material original “sittings” or appointment books, business files, correspon-
possibilities of the medium. In particular, Penn was intrigued dence, early sketchbooks, photographic albums, video recordings
by how the photographic image could be manipulated in the of interviews and lectures, among others.
darkroom to produce variable densities, ranges in image tone, and During the cataloging process, several conservation challenges
even alteration of the gelatin binder. Available sources suggest he were brought to light. One of them: 16 sets of Kodachrome color
used non-standard chemistry, specifically a bleach-and-redevelop- transparencies, with a total of 117 individual transparencies, were
ment technique, which produced the unique visual characteristics wrapped with three different pressure sensitive tapes, and appar-
of the Nudes. However, these sources, as well as the photographer’s ently randomly labeled. This configuration blocked the access to
archival records from the series, include very little technical the images and represented a conservation problem since the tapes
information about his process. This research was undertaken in were in direct contact with film supports and emulsion layers.
the hopes of discovering the cause of the material modifications Tests were performed to find the safest way to remove tapes and
Penn brought about in this body of work. This paper presents the adhesive residues. Paper conservation techniques were, once again,
findings of research into possible darkroom methods used for the successfully applied in the conservation of photographs, in this
Nudes series. case with plastic supports and color dyes as the image-forming
The available art historical literature on Penn proposes a material. Conservation treatments allowed access to the image
bleach-and-redevelopment process, and offers a citation for the content, thus enabling completion of cataloging process and
photography manual from which Penn and his printer drew their pairing the slide label information with Newman’s cataloging
recipes. Using this as a starting point, several hypotheses were system, and ultimately allowing access of his entire archive to
developed for potential bleaching procedures. These hypotheses scholars and researchers interested in his creative process.

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 RESEARCH & TECHNICAL STUDIES

Conservation Science 2.0: The Northwestern address four distinct conservation challenges: (1) the controlled
University / Art Institute of Chicago Center for surface cleaning of contemporary materials, (2) the stabilisation
and consolidation of canvases and painted layers (3) the develop-
Scientific Studies in the Arts ment of sensors and substrates for enhanced molecular detection
Francesca Casadio, Marc Walton, Monica Olvera de la Cruz, and analysis, and (4) the creation of enhanced protective coatings.
Emeline Pouyet, Johanna Salvant, Ken Sutherland All of the tools and materials being investigated aim to introduce
nanotechnologies such nanocontainers, nanoparticles, nanosen-
The Northwestern University/Art Institute of Chicago Center for sors, etc., to the collection care toolbox.
Scientific Studies in the Arts (NU-ACCESS) was founded with a Tate’s role in Nanorestart is primarily focused on the evalua-
generous grant of $2.5M from the Andrew W. Mellon Foundation tion of novel cleaning systems which include highly-retentive gels
as a collaborative endeavor in conservation science that pursues for the confinement of enzymes and nanostructured fluids based
objects-based and objects-inspired scientific research to advance on green surfactants. Over the course of the project, we will carry
the role of science within art history, curatorial scholarship, out analyses and treatments on three artworks from the Tate collec-
archaeology, and conservation. By leveraging resources at the Art tion in conjunction with sculpture and paintings conservators. The
Institute (AIC) and materials-related departments at Northwestern artworks include a plastic object, an acrylic (solution) painting, and
University (NU), the center – the first of its kind – is developing, an acrylic (emulsion)-painted mixed media object. Each treatment
harvesting and adapting innovations in other fields to advance will be approached as a complete case study and will include
our capabilities of studying, preserving and treating art. Within extensive scientific analyses and technical examination, prepara-
the Northwestern campus, it is serving as a catalyst to inspire and tion of mock-ups, characterisation of the mock-up surfaces before,
direct new cutting edge research in academia focused on cultural during, and after treatment with a large suite of systems (including
heritage, with accomplishments in analytical science, modeling, those currently available to conservators), evaluation of the optimal
visualization, data fusion and data processing as demonstrated by cleaning approach based on scientific and conservator evaluations,
over 40 peer-reviewed publications to date. The Center also brings and finally, the surface cleaning treatment of the artwork.
scientific equipment and expertise to collections that have no The process and results from our first two case studies will
such talent in house (most recently, for example, the Guggenheim be presented in detail: Michael Dillon’s Op Structure, 1967, and
museum in New York, the Georgia O’Keeffe museum in Santa Fe, progress made on Roy Lichtenstein’s Whaam!, 1963. Dillon’s
and the Musèe National Picasso in Paris, France). This research Perspex® (poly(methylmethacrylate)) Op Art object does not show
and education initiative also provides enhanced training opportu- significant signs of degradation; however, the surface has areas of
nities for participants through involvement in university-museum fingerprints and light soiling, and there are two different types of
multidisciplinary programs, early career internships, postdoctoral adhesive labels which will be removed. The high gloss and suscep-
fellowships and visiting scholars’ opportunities. Now in its fourth tibility of the polymer to solvent cleaning and abrasion make
year of operation, the center is internationally recognized as a this treatment complex and very relevant to contemporary art
model of interdisciplinary scientific research in the arts. Since its collections. At present, mock-ups based on the artwork materials
creation, the Center has focused on a broad variety of projects have been prepared and characterised; more than 60 treatment
on materials ranging from archaeological glass and paintings to options will be explored for soiling and adhesive removal prior
modern bronzes and artworks pursuing objectives as diverse as to approaching the artwork. Lichtenstein’s iconic piece is painted
collecting materials evidence for dating, advancing knowledge for primarily with Magna acrylic solution paints, as well as oils and
technical art history, enhancing conservation and exhibitions and oil-modified alkyds. The “seam” between the two canvases of the
developing new technologies. To date, more than fifty proposals painting’s composition has become distracting due to surface
have been submitted from all around the world, demonstrating soiling and other marks. This case study will commence at the
the great need of such a resource for museums that have the intel- start of 2017, and the results, challenges, and the decision-making
lectual curiosity but not the scientific expertise in house. In this process leading up to the treatment (to date) will also be presented.
talk we will provide select examples of NU-ACCESS projects to The research for this study received funding from the European
illustrate the center’s role as a sustainable model for integrating Union’s Horizon 2020 research and innovation programme under
scientific investigation into the next generation museum practice. grant agreement No 646063.

What Can Nanotechnology Do for Us? Sculpting in Color: The innovative glazes of
Evaluating novel cleaning tools through the the della Robbias and followers in Renaissance
NanoRestArt project at Tate Florence
Dr. Lora Angelova, Rachel Barker, Gates Sofer Richard Newman, Abigail Hykin
Tate is currently a partner in the Horizon 2020-EU funded project The Florentine sculptor Luca della Robbia began to develop and
“Nanorestart”– a multinational research initiative to introduce perfect an innovative glazing technique for terracotta sculpture
nanotechnology solutions to the conservation and preservation around the middle of the 15th century. Building on these experi-
challenges of modern and contemporary art. The project aims to ments, the della Robbia family workshop produced glazed terracotta

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reliefs over the next century that were highly popular and widely mechanical degradation. One additional challenge is that most
admired. A rival workshop was established by Benedetto Buglioni, collections have experienced use, display or natural aging before
and some other artists also produced sculptures that featured bright, they enter controlled collection storage environments.
opaque glazes inspired by the della Robbias. In association with two Research to determine environmental impact on modern
special exhibitions at the Museum of Fine Arts, Boston, including felt-tip pens used on drawings in the Herb Block Collection at the
the recent “Della Robbia: Sculpting with Color in Renaissance Library of Congress led to exploration of light, dark and tempera-
Florence” (August 9-December 4, 2016), the glazes from nearly ture effects, since the collection materials seemed to be both photo
two dozen sculptures by the della Robbias and followers have been and thermally unstable. Curatorial staff observed fading in collec-
studied over the past ten years. An early 20th century reproduction tion items that had never been exhibited or exposed to light. To
by the Florentine Catagalli workshop has also been studied. assess these chemical changes, reference pen samples that replicated
Although the majority of the studied objects are from the those used in these 21st century cartoon drawings were created
Museum of Fine Arts, Boston, several are from other American and the media separated by thin layer chromatography (TLC) into
collections. The research has involved extensive collaboration with its component dyes. This was to assess the relative light sensitivity
the MFA’s curator of European decorative arts and conservators at of each of the dye components to identify what pens put specific
the MFA and other institutions. Sculptures from all generations drawings at greater risk. These penstix, sharpie, rub-a-dub and other
within the della Robbia workshop have been included as well as felt-tip media samples were also drawn out on a range of substrates
several from the Buglioni workshop. This research, mainly carried to assess the interaction between substrate and media.
out by examination of cross sections by scanning electron micros- Samples were then placed in controlled light, dark and cold
copy/energy-dispersive X-ray spectrometry (SEM/EDS), adds to storage environments for successive periods of time and examined
the previously-published body of work by scientists in France and progressively over a period of 18 months. At the same time
Italy. The European researchers have studied ceramic bodies and collection items containing the same media were kept in dark
glazes, utilizing various analytical techniques. The work carried out and cold storage environments. Both the TLC reference samples
at the MFA combined with the European research provides many and collection items were examined non-invasively with spectral
insights into the nature of the della Robbias’ innovations and the imaging to track any changes over time in response of the media
variations with their workshop; the research also makes it possible to different natural aging storage environments. Media samples
to examine relationships between the work of the della Robbias and on various substrates were exposed to accelerated aging environ-
that of other artists inspired by them. The della Robbias’ techniques ments – light (with/ without ultraviolet) and dark, both with
did not involve new materials, as their glazes have many affinities controlled temperature and relative humidity.
with those of contemporary majolica objects, but instead represent Additional examinations were made using a microfade-tester
a focus on certain combinations of the raw materials that were (MFT) to determine a relative light sensitivity between the
carefully developed to produce particularly bold opaque colors various media. Analysis of changes in substrate materials were
made to carefully fit the underlying ceramic bodies on which they also undertaken. Results indicated significant differences over
applied, so firing often produced no significant cracking in the time in sensitivity to light and dark natural environments for the
glazes. This paper briefly summarizes previously published work and fugitive media, with cold storage of reference samples indicating a
highlights findings from the unpublished work at the Museum of protective effect. Collection items did not show the same defini-
Fine Arts, Boston. The paper provides scientific analysis on objects tive trend, probably since they had already undergone a combina-
that are the subject of several treatment-related papers submitted to tion of light, dark and natural aging. This research has positive
the Objects Specialty Group. implications for modern collections of fugitive media coming
into heritage institution collections, since early intervention and
storage in cool and cold environments will retard media fading,
Early Intervention for At-Risk 21st Century color change and loss.
Fugitive Media
Dr. Fenella France, Meghan A. Wilson, Chris Bolser Minimally Invasive Sampling for the Analysis of
Effectively controlling the environment to reduce the need for Proteins from Solids and Surfaces
invasive treatments is the goal for all heritage professionals. While
Daniel Kirby
significant attention is directed to historic materials, we all too
often fail to recognize the more modern at-risk challenges in our Proteins from a variety of sources, such egg, milk, hide and fish,
collections. These risks can include both the impact of various are ubiquitous components of artworks and cultural objects. It
storage environment parameters as well as challenges of display. has long been recognized that detecting the presence of and deter-
Previous research has shown that significant changes in chemical mining the nature of proteins is an important part of conserva-
and physical properties often occur early in the lifetime of historic tion. Knowing the materials used gives important insights into
and modern objects for a range of materials with the rate of change the choices and intentions of the artist; knowing the materials
decreasing over time. This was true for the Star-Spangled Banner, can aid in determining authenticity and guide future generations
with the interaction between keratin (wool) and dyes showing the in understanding and accurately recreating the culture of their
photo-protective effect of some of the dyes on the chemical and ancestors; knowing the materials is essential toward directing

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conservation, storage and display. conservation science, and to re-define the competencies and role of
Historically, the detection and identification of proteins in the conservation scientist in the twenty first century. Of new import
artworks has been accomplished by a variety of methods including in 2015 was the need for the practice of conservation scientists to
amino acid analysis (AAA), FTIR, Raman, immunological methods be interdisciplinary, community-engaged, and strategic. This paper
(ELISA), GC, GCMS. PyGC, and HPLC. Each method has its reclaims the place of a pioneer of conservation science, Dr. Subra-
strengths and weaknesses. For example, FTIR and Raman may be mahnya Paramasivan (1903-1987), who as the first “archaeological
the least invasive methods but in most cases can offer little more than chemist” at the Chemical Conservation Laboratory (CCL) at the
verification of the presence of protein and perhaps broadly classify Madras Government Museum (MGM), India, forged a new path in
its origin. AAA requires relatively large samples but can determine the study and preservation of Indian cultural heritage that remains
protein presence and generally discriminate among broad classes relevant and revolutionary, and in keeping with the aspirations of
of proteins found in artworks. ELISA offers high sensitivity and the 2015 SIC publication.
small sample requirements but can suffer from the lack of relevant At the helm of the CCL from 1930 to 1946, Paramasivan’s
antibodies. The relatively recent migration of LCMSMS and PMF tenure was marked by a desire for understanding the physical and
into the conservation laboratory offers enhanced sensitivity and chemical factors that affect an object’s condition and long-term
specificity and significantly advances the conservator’s ability to preservation in a holistic way; a dogged pursuit of treatments
identify proteins with high sensitivity and specificity. best suited to the particular conditions not only of the objects
Despite increased levels of sensitivity of newer methods, in his care, but also the cultural and social context in which he
protein determination still requires that samples be taken from worked; and an insistence on collaborative and interdisciplinary
the object for analysis. Although some artworks offer acceptable research to best understand a collection’s preservation needs as
“sampling opportunities,” such as paint on a folded canvas edge well as its scholarly interpretation. Also significant was Parama-
or areas of prior damage, in many cases such opportunities are sivan’s scholarly engagement with scientists working in the field,
absent, and the conservator must decide whether the potential in particular his correspondence and exchange of ideas and tech-
gain in information outweighs the need to alter the object or niques with Rutherford Gettens. Drawing on archival documents,
painting, however slightly. This presentation will discuss two publications, oral histories and an extended residency at the site
minimally invasive methods developed for sampling solids and of the current CCL, this paper sheds light on Paramasivan’s
surfaces to obtain material sufficient for subsequent protein ability to negotiate and integrate scientific, cultural, political and
analysis by PMF or LCMSMS. The first method, the use of 2–3 religious demands in the preservation of museum objects. The
mm3 polymer eraser cubes, is an extension of the method (tribo- paper further broadens the narrative of the history of conserva-
electric extraction) described by Fiddyment, et al.1 for noninvasive tion science, providing new evidence for the approaches of early
sampling of velum. This adaption of that method is best suited scholars working in the field beyond Europe and North America.
for sampling friable surfaces and coatings thereon, where minuet
amounts of surface and/or coating material can be abraded loose
and adhered electrostatically to the cube. The second method Stability of Polyvinyl Butyral Polymers with
utilizes polishing films of fine alumina or diamond particles and is
best suited for hard surfaces, such as ivory, bone, paint and photo-
Light Exposure
graphs, which might not be sufficiently abraded by the eraser. David Thomas, Blythe McCarthy, Ellen Chase, Matthew Clarke
Although technically invasive, both methods offer an option for
obtaining samples with nearly unnoticeable effect on the surface. The need to consolidate a painted gypsum plaster surface on a
In each case, the sampling device, eraser cube or polishing film, is Kizil wall painting fragment presented distinct challenges. The
placed directly into the digestion buffer for subsequent enzymatic gypsum finishing layer on a mud and straw support is matte in
cleavage for protein analysis by PMF or LCMSMS. Examples of appearance, and had been previously consolidated with a non-
the use of both methods will be shown for analyzing samples from aqueous hydrophobic material. This earlier treatment resulted in
parchment, ivory, bone, hide, photo prints and painted surfaces. the inability to use an aqueous material such as funori, and spurred
1. www.pnas.org/cgi/doi/10.1073/pnas.1512264112 a search for alternate solvent-based consolidants. Polyvinyl butyral
polymers (PVBs), often used on many organic materials and as
a consolidant for archaeological wood and bone, were recom-
mended as a possible alternative, however, there were concerns
Conservation Science in Early Twentieth Century regarding the long-term ageing and stability of the material. As a
India: Dr. S. Paramasivan and the Chemical result, a research project was undertaken to build on the previous
Conservation Laboratory at the Madras work by Feller and others.
Government Museum Cast films of Butvar B-76, Butvar B-98, Mowital B30H
and Acryloid B-72 (the widely used acrylic copolymer) were
Sanchita Balachandran investigated before, during and after exposure to ultraviolet light.
Nearly a century after conservation science laboratories developed Additional samples underwent accelerated aging in a Weather-
in museums in Berlin, London, Paris, Cambridge and New York, a ometer that simulated indirect daylight filtered through pane
2015 special supplement of Studies in Conservation (SIC) sought glass. Property changes were assessed using fiber optic Fourier
to clarify the professional and scholarly commitments of the field of Transform Infrared spectroscopy (FTIR), color measurements,

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solubility tests and visual examination. UV and simulated daylight Revealing the Text and Folds in 17th-century
samples exhibited similar changes. PVB samples yellowed slightly Locked Letters
with exposure, showed an increase in oxidation concurrent with
film weight loss, and remained removable with ethanol suggesting Dr. David Mills, Dr. Graham Davis, Jana Dambrogio
lack of cross-linking. The degradation rate depended on the
The international and interdisciplinary team of researchers on the
particular PVB formulation, though the exact cause was not deter-
Signed, Sealed, & Undelivered Project recently rediscovered early
mined. To test the effectiveness of the materials in a situation more
modern letters including 600 that were never opened. The team
analogous to the wall paintings that initiated the project, samples
is collaborating with the Queen Mary, University of London’s
of plaster were consolidated with each of the resins being studied.
Institute of Dentistry to apply their Computed Microtomography
These also were exposed to UV light and measurements were
(CT Scanning) imaging technology to capture complex folding
carried out similarly to those on the films. Due to penetration
patterns and textual information hidden away without physi-
into the plaster and shielding effects of this material, discoloration
cally tearing open the letters. The project explores a 17th-century
was not observed after UV exposure and the films remain readily
trunk held by the Museum voor Communicatie in The Hague.
removable by mild organic solvents such as ethanol.
The trunk is filled with an extraordinary archive: 2,600 letters,
which were never delivered. The trunk’s contents remained
virtually untouched by historians until recently rediscovered.
Understanding the Reactivity and the Dynamics They show history preserved at the time of the “Glorious Revolu-
of Lead Soaps in Oil Paintings tion,” capturing voices which might have never have been heard
otherwise. The letters are examples of a technique called “letter-
Jaclyn Catalano, Anna Murphy, Yao Yao, Nicholas Zumbulyadis, locking” — folding and securing an epistolary writing substrate to
Silvia A. Centeno, Cecil Dybowski function as its own envelope.
To understand the mechanisms and factors that trigger soap Part of the effort of the team includes preserving, imaging,
formation and the dynamics of the reactive compounds in transcribing, and identifying letterlocking formats to reveal the
oil paintings, we used advanced solid state nuclear magnetic chest’s secrets for the first time. Micro Computed Microtomog-
resonance (ssNMR) and X-ray techniques, complemented by raphy (XMT)[Elliott 1982] is an established technique for the
FTIR spectroscopy. We explored soap formation in model paint non-invasive, non-destructive 3-D imaging. It is gaining traction
films at different relative humidity conditions by 13C NMR and in the conservation world for imaging items to gauge their level
studied the dynamics and mobility of relevant fatty acids and of damage prior to conservation work, or digitizing objects too
soaps, namely palmitic acid and lead palmitate, in a linseed oil fragile to be handled. The high spatial and contrast resolution of
matrix at different temperatures (T) by 2H NMR. The results the XMT scanners developed at QMUL allows the direct imaging
show the extent of mobility of palmitic acid and lead palmitate of inks [Mills 2014] and hence, writing inside the Brienne letters.
in the paint matrix, how they differ, and how they depend on T. The 3-D volumetric data produced by the scanners also allows
Examination with techniques such as solid-state 207Pb, 119Sn, investigation of the letterlocking techniques employed by each
and 13C NMR, and X-ray diffraction provided the basis for inter- letter. We present initial results from the first batch of ten letters
preting dynamics in terms of the effects of structure and lead ion scanned in 2016.
coordination environments [1-5]. The ssNMR results obtained in Elliott, J. C. and Dover, S. D. (1982), X-ray microtomography. Journal of
Microscopy, 126: 211–213. doi:10.1111/j.1365-2818.1982.tb00376.x
model paint samples directly correlate with features of the IR data,
Mills D, Curtis A, Davis G.R, Rosin P. (2014) Apocalypto - Reveling the
so they are useful to further interpret FTIR spectra acquired in Bressingham Roll, Journal of Paper Conservation, Vol 15 (2014), no 3, p 14-19
microsamples removed from works of art. Also, the ssNMR data
sets the basis for minimally invasive NMR studies in microsamples
with the development of dynamic nuclear polarization (DNP)
techniques. The results will be discussed in the context of their Evaluation of Reflectance Transformation
implications for the conservation and preservation of the works of Imaging (RTI) Suitability for Studying the
art affected by lead soap formation. Surface Morphology from the collections of the
1. Catalano, J. et al. Appl. Spectrosc. 2014, 68, 280-287.
2. Catalano, J. et al. Materials Issues in Art and Archaeology X; Vandiver,
Grand Egyptian Museum
P., Li, W., Sciau, P., Maines, C., Eds.; Materials Research Society: Warrendale, Islam Abd el Maksoud Shaheen
Pennsylvania, 2014.
3. Catalano, J. et al. J. Phys. Chem. A 2014, 118, 7952-7958. Reflectance transformation imaging (RTI) is a computational
4. Catalano, J. et al. Materials Science and Technology Conference Proceed- photographic method that captures a subject’s surface shape and
ings, Pittsburgh, PA, USA, 2014, 2161-2168. colour and enables the interactive re-lighting of the subject from
5. Catalano, J. et al. J. Chem. Soc. Dalton Trans. 2015, 44, 2340-2347.
any direction. This photographic method provides detailed images
of an object’s shape, colour attributes and surface texture along
with illumination from different angles, showing details that are
often unavailable with the naked eye. Also, RTI provides informa-
tion on the physical changes in the object itself as it reports on
surface geometry.

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A variety of ancient Egyptian collections in the Grand

Egyptian Museum-Conservation center GEM-CC are being
presented in a new and informative light through RTI. Indeed,
using quantitative (RTI) we obtain detailed information on the
geometry and morphology of variety ancient Egyptian materials,
due to the different nature of the surfaces of the materials, such as
animal’s skin, papyri textiles, pigments, gilded layers and wooden
layer. This study focuses on different reflective properties of these
surfaces from shapes and texture. Furthermore, RTI also proved
highly effective for detailed documentation of variety ancient
Egyptian collections before and after treatments, helping to assess
many subtle changes on pictorial layers and supports caused by
conservation processes. RTI technique were applied on two
objects from Tutankhamen’s collections, the shields and loincloths;
Cartonnage mummy trappings (late period); papyrus Boulaq 22;
coffin lid (21st dynasty); and wooden statuette (26th dynasty) for
a better understanding of both plain and polychrome surfaces,
identifying topology of layers. It provides a lot of information
that helps conservators along with curators in dating, iconography
throughout the insights of RTI application. The real power of
this technique is the interactive RTI Viewer tool which allows
the subject to be re-lighted from any direction. Different rending
modes can help bring out certain surface details such as incised
designs or impressions. Finally, this method has been compared
with those obtained by others standard imaging technique.

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 SUSTAINABILITY

With Room to Grow: Design and construction area in the basement of Hesburgh Library. Working with an
of a new conservation facility at the University of Environmental Team consisting of members from the Hesburgh
Library’s RBSC, Facilities, and Preservation Department Staffs,
Washington Libraries the campus Utilities Department, the Office of Sustainability,
Justin P. Johnson and the Facilities Design and Operations Department, as well as
consultants from the Image Permanence Institute, the University
The University of Washington Libraries in Seattle, WA, completed was able to diagnose the cause of sub-optimal preservation condi-
construction of a new conservation facility in February 2016. This tions, as well as identify opportunities for improved preservation
paper will cover the many challenges encountered as well as the and reduced energy consumption.
many innovative and practical solutions developed by Libraries This talk will briefly describe how the team used documenta-
staff in collaboration with UW Capital Projects staff, architects tion and environmental data analysis to better understand the
and contractors. The new 4,000 sq. ft. facility was built, in part, air-handling system for the Rare Book and Special Collections
to support a new endowed conservator position funded in part department on the basement and first floors of the Library. In
by an Andrew W. Mellon award. The current lab lacked both the addition to the challenge of managing a preservation environment
space and the required equipment to support the new position. in the basement and an appropriate work/research environment
Previously, three staff members and as many as three students on the first floor, the team discovered that, as the basement level
worked together in a 2,000 sq. ft. basement with limited support had been renovated, additional spaces had been added to the
for complex treatment to meet the Libraries’ conservation needs. RBSC air handler – without the knowledge of RBSC or Preserva-
The new lab would need to incorporate both the current staff, the tion. Speakers will describe the solutions implemented to alleviate
new conservator, and allow for future capacity and growth. With initial preservation and energy concerns, as well as future plans to
the growing diversity of collection materials, staff also designed the maintain a sustainable preservation environment for rare and special
space to support more complex photograph and paper conserva- collections.
tion in the future. The new design therefore had to comfortably Finally, equally as important as the preservation activities, the
house not only existing equipment and furniture, but also new talk will discuss the difficulties and opportunities presented by
aqueous and chemical treatment apparatus, documentation and working with an interdisciplinary team, from initial relationships
examination equipment, and increased storage, workspace and and reactions, to the growth in communications and trust, to the
office needs. Location was a primary challenge early in design as present, where preservation advocacy is embraced by the entire team
HVAC concerns and fume hood installation required that the in their variety of roles. The success in building relationships has
facility be relocated from its existing basement location. Addition- been so significant, that, to quote one team member – “Honestly, I
ally, designing for current need as well as future capacity while only don’t recognize the context I’m working in as far as all of this goes.”
doubling available square footage required significant experimen- It is our hope that this case study will help to change the playing
tation with workflow, storage design, and efficient space use. There field – so to speak – for other institutions as it as for Notre Dame.
were also inherent challenges in communicating the unique needs
of a hybrid conservation facility and its staff to architects, facilities
staff, laboratory consultants and other stakeholders and collabora-
tors throughout the project. The results of this three-year project Neurons to the Task: How to balance resources
will be presented along with discussion of the many communica- with ingenuity in innovation
tion solutions staff created to address design and fundraising needs. Christine Perrier
Designing the space for future flexibility and practical material
storage, innovative fume-hood design, original designs for labora- Innovation is the introduction of something new. It is usually
tory furniture, and sustainable management practices will all be referred to as a new method, or device; a novelty. In conserva-
covered. Now fully operational, post-construction project insights tion and restoration, we often link innovation with science and
and performance will also be shared. technology. However, this definition may not always be the
appropriate one for many conservators around the globe. Innova-
tion often means managing to find the safest approach to an ideal
‘What Do You Mean Telecom Servers and concept within a very tight budget. Concessions are part of daily
decisions and it is a great challenge to be faithful to conservation
Preservation Don’t Mix?’ – Sustainable standards. As a Canadian living and working in South America,
Preservation Environments and the Building of I came to realize that, although money brings new dimensions
an Environmental Team to innovation, ingenuity and versatility are essential key factors
to conservation. At the Archaeology Laboratory of the National
Liz Dube, Jeremy Linden Centre for Conservation and Restoration (CNCR) in Chile,
Between 2014 and 2016, the University of Notre Dame Libraries juggling with cost, restrictions, and quality is commonplace. The
completed a National Endowment for the Humanities Sustaining Centre is government funded. Budget varies from year to year
Cultural Heritage Collections Planning Grant to improve and (mainly based on annual growth and inflation). It is not a large
make more sustainable the preservation environment for the sum so great ideas have to come at low cost and priorities have to
University’s Rare Book and Special Collections (RBSC) storage be made. In addition, the CNCR fixes the guidelines for public

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 SUSTAINABILITY

institutions nationwide where economical and human resources that are easy to implement in any studio.
are very limited. This means it is imperative to think in terms The RightCycle Program is one such program, which is
of accessibility, reproducibility, and very reasonable cost when currently undergoing a trial run at the University of Amsterdam
proposing a methodology or a design. So, imagination, resource- and the Rijksmuseum Amsterdam. The use of disposable gloves is
fulness and reflection must be present in all levels of decisions. a huge source of waste in conservation. Gloves are a major contrib-
Part of creating something better is to change the way we utor to landfill waste and pollution from incineration. The Right-
look at things or address a problem. Quantities of pre-Columbian Cycle program can help reduce the amount of waste produced
textile fragmentary have accumulated in storage rooms of national from using disposable gloves. RightCycle is a recycling program for
institutions for decades. Safer conditions for their manipulation non-hazardous disposable nitrile gloves and is easy to implement
were implemented by means of a simple support. It could finally and use. RightCycle is a propriety program from Kimberly-Clark
give access to invaluable information that can be used in future Professional. Disposable nitrile gloves cannot be recycled through
investigations. Homemade components always add a plus to the normal plastic recycling due to their composition. The newly
balance: budgets can be expanded and possibilities widen. Here developed program breaks down used gloves into powder using
are a few examples of ingenuity that benefitted from recycling cryogenic processes to make new eco-friendly consumer products,
material, converting equipment (so it can do the desired task) or such as patio furniture but also construction material like panels.
using simple material to create what was needed: The program is simple to use: after the gloves are used they are
• natural fabric is dyed and sewn to make soft tridimen- simply disposed of into the recycling box instead of the trash can.
sional supports and reinforcement for intervention, When the box is full, the gloves are picked up. The one stipulation
storage or display for the program is that only Kimberly-Clark Professional gloves
• pieces of Ethafoam are minced and recycled in sealed are eligible for recycling. Kimberly-Clark Professional offers a
polyethylene bags for cushioning in the storage of pottery range of high quality gloves under the KIMTECH brand for the
• a standard vacuum cleaner is modified into a micro program that meet the various standards and needs of the conser-
aspiration device fitted for removal of particles on fragile vator. Programs like RightCycle are easy ways for conservation labs
garments to become more sustainable. SSiC provides awareness about these
• a sophisticated casing for the transport and storage of kinds of programs and initiatives and information about how to
mummified bodies is made out of Ethafoam, cardboard, set them up in your studio. The aim is to promote an international,
Tyvex muslin and a clever vent system. unified effort to bring sustainability to the foreground.
Inventiveness may be a better word. Nonetheless, it emerges
from the challenge of finding a way to make it work, to create
something better that is efficient and respectful in terms of conser- Fast, Cheap, and Sustainable: 3-D printing
vation and budget. And it is reality.
Students for Sustainability in Conservation Caitlin Southwick
exhibition book cradles
Fletcher Durant, Sara Gonzalez, and Lourdes Santamaría-Wheeler
Sustainability in conservation is an emerging area of concern
and importance. The main focus has been on larger scale issues, 3-D printers and Makerspaces are a growing presence in libraries.
such as climate control in museums, packaging/shipping, storage While frequently marketed as a service to students and community
and lighting. Conservators individually should also be aware of members, 3-D printers [also referred to as Rapid Prototyping (RP)
smaller scale initiatives to be more green in daily practice. In order or FFF (Fused Filament Fabrication)] can be used by conserva-
to enhance the role of sustainability in everyday conservation, tors and exhibition designers to produce affordable custom
it is necessary to begin incorporating eco-friendly practices into book mounts from stable, recyclable polymers. The University
education and training programs. Doing so ensures that future of Florida’s Smathers Libraries are experimenting with printing
generations of conservators think sustainably. custom mounts for temporary exhibitions. Rather than purchasing
In order to promote sustainability at the student level, I have generic, expensive plexi mounts, they are designed in-house, using
started an initiative to bring the international community of freely available Computer-Aided Design and Drawing (CAD)
students together and show how they can make a difference. SSiC, software to fit unique openings of selected volumes. The mounts
Students for Sustainability in Conservation, is an international are printed in house on one of the Libraries’ FFF printers using
platform for students, educators and professionals in the field to commercially available polymers.
come together and share their ideas, questions and innovations This presentation will explore the Smathers Libraries’ process
regarding sustainability in conservation. SSiC presents initiatives for designing mounts, selecting polymers, printing process, and cost
that are easy to implement in any lab or studio, and also provides analysis, from the point of view of the conservator, exhibit designer,
the opportunity for individuals to share their projects. SSiC and university librarian. The presenters will also discuss issues with
promotes the concept that little changes make a huge difference. and limitations to the current procedures, including the possibility
By spreading awareness, SSiC hopes to inspire the conservators of recycling the mounts following exhibition into reusable filament.
of the future to a more sustainable direction. SSiC highlights key
areas in which conservators can reduce waste and become more
sustainable, and particularly how students can become involved
and impact the future of conservation. SSiC showcases initiatives

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You Say You Want a Revolution? An innovative, the 19th or early 20th century and was collected in Malawi and
low-tack adhesive treatment for 18th-century silk donated to the National Museum of New Zealand in the 1930s.
Records describing the garment as being made of monkey tails
flags conflicted with the appearance of the garment, which was marked
Camille Myers Breeze by a diversity of fur patterning and colouration. As a garment
used for dance and also handled by museum staff over the years,
Flags and banners are our most patriotic national textiles. Often DNA contamination from several sources presented a challenge
made of silk or thin wool bunting, they can be extremely fragile and to properly identifying the mammalian species of interest. We
require advanced conservation techniques for their preservation. describe aspects of the method developed to overcome this
Eighteenth-century flags—scant few of which exist in the United problem and discuss the results obtained, which indicated that
States—present their own set of considerations. Revolutionary at least six species were used in making the object. Ethical issues
War-era flags are frequently painted and over-painted with oil-based, inherent in this type of research, sampling considerations and
distemper, or other water-based paint that may have physically or methods will be discussed.
chemically compromised the ground silk and resulted in flaking
paint or loss of original material. American Revolutionary War-era
silk flags can be remarkably sound compared to 19th-century silk
flags; however, they are frequently distorted and dished from use The Characterization of ‘Foxing’ on Textiles
and display, presenting challenges for mounting. Sophia Zweifel
Due to these and other condition issues, conservators at
Museum Textile Services have endeavored to find new techniques “Foxing,” a term used by paper conservators to describe yellow
for safely stabilizing and mounting 18th-century silk flags. to brown spotted staining, has long been researched and debated
Our latest method is reversible, requires minimal handling and in paper conservation literature and has been attributed to both
flipping of the flag, is successful with or without a sheer overlay, fungal and metal contaminants in paper. While a visually similar
and is more time efficient. This presentation will illustrate this phenomenon is frequently observed on textiles, and the term
innovation with two c 1780 flags conserved in 2016, the Third “foxing” has been taken up by textile conservators, it has not as of
Connecticut flag belonging to the New York Historical Society, yet been sufficiently characterized in a textile context.
and the Bucks of America flag belonging to the Massachusetts Using survey data gathered from textile conservators around
Historical Society and now on exhibit at the National Museum the world, this project first investigates how frequently “foxing” is
of African American History and Culture. Pros and cons of this observed in textile collections to determine the magnitude of the
technique compared to other conventional methods of lining and problem, and seeks to identify any common factors, properties,
mounting flags and banners will be discussed. Applications of this and conditions that can be associated with the phenomenon in a
revolutionary labor- and resource-saving treatment to the conser- textile context. While the plenitude of paper conservation research
vation of other textiles will also be clearly illustrated. is a tremendous resource for textile conservators, it remains to be
determined what correlations can and cannot be made between
“foxing” on paper and “foxing” on textiles.
Rather than endeavor to identify overall causes of “foxing” on
Identification of Skins in a Dance Garment from textiles, the second part of this project explores different charac-
Malawi using DNA Sequencing terization methods that offer a better understanding of the active
Anne Peranteau, Lara Shepherd conservation issues present on affected textiles. Techniques often
used in the characterization of “foxing” include UV fluorescence
In recent years, the study of material culture has increasingly included photography and X-ray fluorescence (XRF) spectrometry. Using
techniques based on DNA sequencing. Information gleaned from a case study of a “foxed” textile from the Canadian Conservation
the analysis of historic or ancient DNA (hDNA, aDNA) can be Institute study collection, this project compares these established
used to identify species used in the construction of an object, and methods to more accessible, affordable, and targeted characteriza-
in some cases, their geographic region of origin. The polymerase tion techniques such as bathophenanthroline strip testing for active
chain reaction (PCR) technique enables DNA sequences to be iron ions, pH testing, and ATP/AMP bioluminescence testing for
obtained from extremely small samples of biological materials. Like the presence of microbiological activity. In shifting the focus from
traditional microscopic examination methods, identification using characterization techniques that attempt to identify cause towards
DNA depends upon the availability of samples for comparison. those that assess active risk, the paper discusses methods of examina-
However, online searchable databases, such as GenBank, contain tion that should promote the development of simplified treatment
many millions of DNA sequences from hundreds of thousands of strategies that target the specific stabilization needs of the textile in
organisms and continue to grow exponentially as new sequences addition to those that tackle the aesthetic reduction of stains.
are added.
This paper briefly reviews the development of aDNA research
using museum collections in New Zealand and describes the
identification of mammal species used in the construction of
an African dance garment. The garment is thought to date from

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Oh, Bother: The conservation of Winnie the Making the Mold: A use for Fosshape in
Pooh and friends upholstery conservation
Alison Castaneda Kirsten Schoonmaker, Abby Zoldowski
This paper will describe the conservation of the five original This paper describes an inventive technique to create replacement
Winnie-the-Pooh stuffed animals, namely Pooh, Kanga, Eeyore, chair back upholstery using Fosshape. Fosshape, a non-woven
Tigger, and Piglet, upon which A. A. Milne’s classic children’s polyester that can be manipulated into rigid three-dimensional
stories are based. The stuffed animals were purchased by Milne at shapes with the application of heat, has been gaining in popularity
various points in the 1920s as gifts for his son, Christopher Robin for the construction of custom mannequins, but the treatment
Milne. In 1956, Milne donated the animals to his U.S. publisher, of a suite of Hepplewhite-style furniture, c. 1790, from Schuyler
E.P. Dutton & Co., where they remained until 1987, when they Mansion State Historic Site prompted investigation into the
were donated to the New York Public Library. material’s potential in upholstery conservation.
Although they underwent a conservation campaign when first This suite, consisting of eight upholstered shield-back armchairs
acquired by the library, thirty years had taken its toll and it was and coordinating sofa, has been on view in the “best parlor” of
decided that the animals were once again in need of conservation. Schuyler Mansion since the house was opened to the public in
After thorough examination at the library, they were sent to the 1917. In preparation for the upcoming centennial anniversary, a
Textile Conservation Workshop for treatment. The condition of full treatment of the furniture was desired as the show cover and
the animals varied greatly, from Tigger, who was merely lopsided, upholstery profiles were incorrect.
to Eeyore, who required over a hundred hours of work. Aside Challenged by the compound curves of the frame and the
from the 1987 conservation campaign, all of the animals had been need for two conservators to create eight consistent and correct
thoroughly mended and repaired sometime before being acquired replacement backs, a method for casting Fosshape over a custom
by the library. Many of these previous repairs, involving patching mold was developed. The resulting lightweight and self-contained
and darning, had faded to colors drastically different from the upholstery cake can be minimally attached to the frame and easily
original plush. Brown Piglet now had a sage green blotch over removed. This paper will review the development of the technique,
3/4 of his head, and gray Kanga and Eeyore were covered with evaluate the success of the method, and offer considerations for
numerous beige spots. future applications of Fosshape in upholstery conservation.
The library feared that this made the animals appear
uncared for, and distracted from their historical and illustrative
importance. However, it was unclear when exactly these repairs From the Top Down: Dressing the historic bed—
had been made. Were they undertaken in the Milne household
because Christopher Robin had loved them too dearly? Or had
developing mounting systems from a
they been added while under the care of the publisher, who may 21st-century conservation perspective
have thought they were looking shabby after many rounds of Deirdre Windsor
traveling tours?
A photo from the 1950s indicated that at least some of the This paper describes custom mounting systems created for historic
patches on Eeyore had been added after this date, but the rest bed hangings belonging to two New England institutions: the
were dated largely on speculation, informed by quality of repair Woodlawn Museum, Ellsworth, Maine, and Old York Historical
and materials used. Although much of the charm of children’s Society, York, Maine. Each institution had a primary goal to safely
stuffed animals comes from the generations of hand-sewn patches, display recently conserved bed hangings within an institutional
a large part of these animals’ importance is their resemblance to context—one in a historic house setting and the other in a modern
the original illustrations. Therefore, it was ultimately decided gallery setting.
that where they could not be mediated with overlays, all truly The 1827 “Best Bed” at the Woodlawn Museum’s Black House
disfiguring patches would be removed and replaced, whether or features an original bedstead with dimity and silk-fringe-trimmed
not they were believed to have been added by the Milnes. Custom hangings, displayed in the bedroom for which they were made.
mounts, designed in conjunction with a fabricator, helped to Because the bed hangings remained relatively untouched for 200
mediate defects in posture while offering inconspicuous support. years prior to this conservation campaign, they offer scholars
The end result was animals that more closely resembled those rare insight into the original methods of tacking hangings onto
immortalized in Milne’s classic books, making the connection lathe and posts. In contrast, Old York’s famous wool and linen
between literary and object history more accessible to children crewel-embroidered bed hangings worked by Mary Swett Bulman
and adults alike. between 1735 and 1745, have been removed from their historic
setting and are no longer associated with the original bedstead.
The textiles have been on and off display in a museum setting
since 1908, using various hanging methods, including tacking,
applied Velcro, and a modern looping system. The two case
studies compare the criteria that guided curators in making their
decisions regarding the conservation and dressing of each bed.

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The paper focuses on the relative technical concepts, of the garment but also the appropriate body shape for the time
auxiliary materials and hands-on procedures that evolved during period. Accessories, both as museum objects themselves, as well
the process of preparing these two rare and intact full sets of as props to complete a total look, will also be discussed. The goal
bed hangings for display. Preserving the current condition of is to not only keep the objects safe during travel, installation, and
each set by meeting strict requirements for vertical support and display, but also to ensure the proper appearance of the ensemble.
environmental protection was paramount during the conserva- Of course, all of this takes time; this paper will aim to help in
tion process. Conservation treatment applications are described estimating the time required for preparing costumes for travel and
as related to long-term display. In both projects, methods of exhibition.
supporting and securing the hangings were developed using a Examples of courier experiences at costume loan installations
combination of magnetic and supportive stitched extensions, as will provide insight into the types of issues that can arise. While
well as some full fabric supports. Each project offered specific much of museum loan arrangements are handled by registrars and
structural challenges relative to the bedstead and lathe supports. curatorial staff, it’s important that conservators and installers are
The primary mandate for the Woodlawn bed was to preserve included in loan discussions from the beginning, and participate
evidence of all previous tacking campaigns by developing a in the decision making process. With so many variables, lending
mounting system to secure the textiles on an auxiliary frame and borrowing costume often requires problem solving, as no two
support without intervention or mechanical fastening onto the loans are the same. This paper will provide a set of guidelines to
original structure. The Old York project allowed a variation on serve as a starting point for institutions without much experience
the original mounting design using fabric and magnetic supports in borrowing or lending costume for exhibition.
that were incorporated onto a modern bedstead, produced based
on a period prototype. One critical criterion that guided the use
of a magnetic mounting system was its flexibility to allow quick Learning from Treatments That Did Not Go as
removal of the bed hangings in the case of an emergency.
Each case study describes techniques used to achieve an
Planned
effortless upholstered appearance of each set with minimal inter- Suzan Meijer, Marjolein Koek
vention and simplicity of assembly. From the perspective of the
conservator, the mounting system design offers ease of handling This paper will focus on an 1860s silk dress, which is in the
for the dressing and undressing of the beds. Both projects offered costume collection of the Rijksmuseum Amsterdam. This dress
unique opportunities to initiate a contemporary methodology for is made from a unique moiré fabric, and still has its original
mounting historic bed hangings, with results that synchronized construction, which is rare because costumes were often altered.
both conservation and curatorial goals. The dress has features typical of the period: a wide oval-shaped
skirt with a flat front and flared sleeves. The skirt would have been
supported by a crinoline cage. The dress was selected for a publica-
tion featuring about a hundred of the most interesting costumes
Costume Loans: Challenges and strategies in the Rijksmuseum collection. This meant the dress needed to be
Cassandra Gero photographed on a mannequin to show the appropriate silhou-
ette. Even with minimal handling, strain on the material cannot
When requesting a loan of costume objects for an exhibition, be avoided during the process of mounting the costume onto a
institutions unfamiliar with exhibiting garments and accesso- mannequin. To be handled and mounted, interventive conserva-
ries may underestimate the amount of time and work involved tion was needed in order to stabilize the dress.
in preparing and installing these types of objects. Imagine a In 2012, possible treatment plans were discussed by the
courier arrives at your institution with a costume ensemble for curator and the textile conservation team. Unfortunately, during
your exhibition, and the mannequin you’ve provided is too big treatment it was found that the silk moiré and the threads used
around the waist. Or there’s no head for the hat, and wait—this to stitch the different parts together were more fragile than
ensemble doesn’t come with shoes?! Now imagine you are that anticipated, which made the handling of the dress especially
courier, and on a tight deadline to install. Mounting a costume on challenging. During handling and attaching the support to the
a mannequin is much different than hanging a painting on a wall. object some strain on the seams was inevitable. This caused slits in
But, with careful planning and preparation on the part of both certain areas and some pleats became detached. This, in addition
the lender and borrower, a successful loan of costume is possible. to a change of plans concerning the publication, was the reason
This paper will offer strategies for lenders and borrowers to avoid that the treatment remained unfinished.
potential costume loan pitfalls related to packing, mounting, In 2016, the treatment was continued by a different conser-
installation, and display. vator. When re-evaluating the treatment, different questions
Exhibiting costume has its own set of unique challenges and arose. The main question was whether the negative side-effects
requirements, and this paper will detail those challenges and of the treatment could have been prevented. If not, what were
provide strategies for dealing with each one. Methods for packing the consequences for the state of the object? This paper will
garments for travel will be discussed, as well as standard display illustrate the difficulties of dealing with a treatment that did not
requirements for costume. Choosing a suitable mannequin or go as planned. In general, we often only have the opportunity to
dress form will be addressed, keeping in mind not only the size learn from successful conservation experiences, but how can we

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learn from treatments that were not successful? Additionally, the to be carefully considered when determining the best approach
complications associated with two conservators working subse- to its treatment and display. This treatment involved a wide-
quently on the same object in a relatively short time frame, as ranging approach that drew from both 21st-century conservation
well as the considerations of re- or undoing previous treatments methods and 19th-century dressmaking techniques, exemplifying
will be discussed. The silk moiré dress is a valuable case study for the breadth of knowledge and skill that is often called upon in
illustrating and discussing both practical and ethical solutions. costume conservation.

A Worthwhile Endeavor: The conservation of a A Treatment Returns Undone

Worth and Bobergh ensemble Nancy Love
Johanna Tower Often treatments do not go as planned. Well thought out
During a time when clothing was a costly commodity, restyling, treatment proposals often need a small or sometimes a large
resizing, and re-purposing garments to accommodate changing change of plan as the work unfolds. We do our best and the
fashions and bodies were common practices. Such well-worn outcome is usually successful. Completion of a treatment for
items of dress are a common feature of museum collections and conservators in private practice includes instructing the client on
pose a number of treatment challenges to the conservators who how to care the object, and then it’s out of our hands. Occasion-
care for them. A circa 1870 Worth and Bobergh ensemble in the ally, the intended treatment does not go as planned due to the
collection of the Museum of Fine Arts Boston is a prime example: actions of the object’s owners. This was the case of an Onodagah/
the evening/day bodices and skirt had each undergone multiple Iraqis feathered headdress I treated 17 years ago.
generations of alterations by the time the ensemble was acquired The ceremonial headdress was made and presented to the
by the museum in 2002. owner’s grandfather in 1930 in honor of his friendship and service
Over the course of a year-long Mellon Fellowship in the MFA’s to the tribe. The headdress, a man’s felt hat decorated with 28
Textile Conservation Lab, the author undertook extensive conser- eagle feathers and beadwork, was in poor condition. The hat was
vation of this ensemble in preparation for its inclusion in a 2017 fragile and many of the feathers were detached. The headdress was
touring exhibition entitled La Parisienne. The ensemble’s silk faille covered in dust and there was extensive loss of feathers due to
fabric suffered from numerous condition issues requiring myriad insect damage. The family admitted that the headdress had never
conservation treatments, the successes and challenges of which will been protected and confessed that it had often been worn for the
be discussed in this presentation. Losses necessitated custom-dyed carving of the turkey at Thanksgiving. The treatment included
materials to compensate for parts of the skirt that had been cut surface vacuuming, cleaning and stabilizing the beadwork, reat-
away. Two different dyeing procedures were used to approximate taching feathers to the hat and constructing a solid interior mount
the early synthetic purple of the garments’ primary fabric and the for support. The interior mount was also attached to a solid
off-white tint of the contrasting patterned fabric. A large stain on baseboard to help support the lower feathers. The owners picked
the front of the skirt in a section of the patterned fabric further it up and promised to protect it in an exhibit case.
involved generating a digitally printed reproduction of the pattern In 2016, I received a referral through the University of Penn-
to mask the stain for exhibition. Heavy creasing throughout the sylvania Museum about treating a ceremonial feathered headdress.
fabric and trimmings required multiple humidification treatments It was the same headdress, and now it was in very poor condition.
using both water vapor and steam. Splits and tears in weakened The hat was more fragile, and more feathers were detached. The
areas of ruffle and lace trimmings had to be stabilized with both headdress was again covered in dust and there was more loss
stitch- and adhesive-based repairs. of feathers due to insect damage. Also, part of the mount was
The scope of these treatments provided the author with the missing. The owners were extremely embarrassed and were deter-
opportunity to experience and compare the implementation and mined to have the headdress conserved and properly protected. A
efficacy of different conservation techniques. In addition to the new treatment was devised to attach the feathers through the hat
fabric damage wrought by wear and aging, changes made to the into a solid interior mount for stabilization. This treatment did
construction of the garments also had to be addressed in this not go as planned. The owners felt that attaching the headdress
treatment. Inexpertly worked alterations drastically changed the to the solid mount would make it a sculpture. They wanted the
silhouette of the skirt and, by permanently joining the skirt to headdress to be removable from the solid mount in keeping with
the evening bodice, made it impossible to dress it interchangeably its original intent. Eventually a compromise was reached that
with either day or evening bodice as has been originally intended. satisfied both conservator and clients. The owners have built a
Returning the skirt closer to its original configuration involved a glass front bookcase to protect the headdress. As they wisely said,
study of Worth and Bobergh construction methods seen in other “We can’t do this again.”
extant examples, an in-depth analysis of evidence remaining in
the skirt itself, and the construction of a half-scale mock-up based
on the garment’s conjectured configuration. The early alterations
made to the ensemble to keep current with fashions during the
transitional period of the late 1860s and early 1870s also had

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Deconstructed: Restoring the intent and integrity way of cleaning and conserving the tapestries. The second case
of a rare Kainai squirrel-lined baby quilt study is a multi-colored wool Agam tapestry with a white cotton
ground from the 1970s which had large amounts of a hard, yellow
Shirley Ellis polymer glue in thick layers along the back top and bottom edges.
The glue had been used to attach a lining and was embedded in
Over 100 years old, a Kainai First Nation baby quilt in the Royal
warps and wefts of the weave. During initial testing, it was deter-
Alberta Museum collection was unique in the way that it was
mined that the red and black yarns were not colorfast, removing
composed with a decorative quilted side and a thermal fur side for
the possibility of a traditional immersive wet cleaning. After signif-
warmth. The cotton quilted side was made up of vertical bands –
icant testing, it was determined that amyl acetate was necessary
some continuous and some formed of patchwork squares, while
for the softening and removal of the glue. However, due to the
the thermal side was made from a series of gopher furs (Richardson
dangers associated with amyl acetate, agarose gels were used as a
Ground squirrels) attached to a flour sack (“Cardston, Alberta” is
vehicle for the application of the amyl acetate, since the gel would
still visible).
allow for a targeted treatment that would reduce the amount of
Over the years, the quilt suffered from major rodent and moth
human contact with the amyl acetate. This paper discusses how
damage, plus overall soiling and distortion. After colourfastness
agarose gels were used to clean two very different tapestries with
testing, it was determined that it could be safely wet-cleaned but
very different conservation needs and the challenges and problems
the layers needed to be separated. Not an easy decision, weighing
faced along the way.
the pros and cons, and during consultation with the curator, it was
decided that the benefits of wet-cleaning outweighed the separa-
tion of the layers and possible change in reassembly. The quilt top
and cloth to which the furs were attached were all separated and Sublime Applications: Creating an efficient
wet-cleaned. The fur skins were humidified and flattened then cyclododecane barrier on textiles
secured to a nylon tulle backing for support and unification of
the skin layer allowing it to be reattached to the flour sacking. Gennifer Majors
Stabilization of the textile completed the treatment, filling in the Dye bleed caused by wet cleaning is a common problem during
losses, allowing the visitor to view the quilt as a whole and to conservation treatments. A protective hydrophobic barrier is
appreciate it for what it was. In the end the baby quilt is more sometimes created over such water-sensitive dyes using the wax-like
stable, its appearance improved, its life span increased, making it material cyclododecane. However, little research has been done on
more accessible for generations to come. how to create the most efficient cyclododecane barrier on textiles.
Seven different application methods were devised and tested for
effectiveness. Samples with water-sensitive dyes were treated with
Agarose, Two Ways: Successes and challenges in cyclododecane barriers and then soaked in water to find which of
large scale gel applications these application methods best protected against dye bleed. Gravi-
metric and visual analysis were used to track any changes in the
Dana Goodin applied cyclododecane. ATR-FTIR and DRIFTS infrared spec-
troscopy were performed to discover how well the cyclododecane
Agarose gels are rigid polysaccharide gels that, through capillary
had coated the samples’ fibers. The resulting data revealed the
action, can be used as a slow, controlled cleaning method. While
most effective method to be as follows: Cyclododecane is applied
the gels have originally been primarily used in paper and sculpture
to one side of a textile while the textile is at room temperature.
conservation, textile conservators have recently been exploring the
Cyclododecane is then applied to the opposite side immediately
effectiveness of agarose gels for flat textile cleaning. It has been
after the textile has been heated. This heating allows the cyclodo-
established that agarose gels can be the best method for cleaning if
decane to become well-embedded within the textile, coating and
the textile requires a special chemical compound for stain removal,
protecting the fibers. The efficacy of the paintbrush and kistka as
such as enzymes, or for stains on textiles in danger of dye bleed.
application tools was also investigated during the experiment. It
Research on large-scale agarose gel applications has not yet been
was discovered that the brush applied more cyclododecane overall,
published.
but the kistka resulted in a more effective hydrophobic barrier. The
Recently, two very different types of tapestries were brought
results were used to create instructions for applying cyclododecane
to the textile conservation lab at the Cathedral Church of St. John
to textiles, which conservators can use during treatments requiring
the Divine that became candidates for agarose gel treatments.
a hydrophobic barrier to protect water-sensitive dyes.
A set of six William Baumgarten tapestries, dated to the 1910s,
were recently discovered in a privately owned Upper West Side
townhouse. They had been subjected to the normal environmental
fluctuations of a New York City townhouse for almost 100 years,
as well as several water pipe leaks that left dark staining. The silk
wefts are so desiccated that the silk is powdering and the tapestry is
far too fragile for immersive wet cleaning. It was determined that
using agarose gels would possibly be the safest and most effective

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Safely Mounting Figures with Extreme Action the body between the framework of measurements taken from
Poses the object. Final fitting and covering of the mannequins will still
need to be done by conservators; however, it is anticipated that the
Sunae Evans custom sizing and fit of these mannequins will result in a method
for mounting costume that is more economical in staff time as
The National Museum of American History (NMAH) delivers the
well as in cost and materials. The preservation of the digital files
experiences of the American people through exhibitions utilizing
also allows for potential dividends should these same objects be
various museum objects. Costumes are some of the most powerful
displayed in the future. The first set of test measurements have
examples of material culture and provide insights into an indi-
been submitted to the designers and prototyping is underway. By
vidual’s historical background and characteristics. As a history
May 2017, the project should be nearing completion and final
museum, NMAH is devoted to the preservation of the museum
fitting-up underway for the majority of the mannequins.
objects for future generations, and the presentation methods
available for their displays are limited by minimal handling of
the objects to avoid unnecessary damage. In most exhibitions,
costumes are displayed with a script and appropriate images, so 3D Scanning to Create Custom Storage Forms
the need to display costume on extreme figures has been avoided. for the Charles James Collection in the Costume
However, some costumes definitely require action poses to get the Institute, Metropolitan Museum of Art
true feeling of the action.
This presentation will explore the methods, tools, and tech- Sarah Scaturro, Taylor Healy
niques to enable the display of costumes in action poses while Costume Institute conservators were inspired to explore 3D
continuously practicing our usual preventive conservation scanning as a means to bypass the inefficiency and inaccuracy of
approach. Two of the costumes in my presentation were worn hand carving storage forms for twenty-eight sculptural Charles
by Olympic medalists Shaun White and Mike Schultz. Shaun James gowns and coats in the collection. These masterpieces—
is a skateboarder and snowboarder, and Mike rides a motocross mostly strapless, form-fitting dresses with complicated structures
bicycle with a prosthetic leg that he built himself. These men are and layers—present a challenge for storage. The gowns cannot be
extreme athletes, so the project teams’ decision was to show Shaun laid in flat storage as they will collapse and lose their structure. They
riding a skateboard and Mike on a moto cross bicycle at stiff angles cannot be hung on traditional archival hangers since the objects
in a display case that could be only bracketed at the ceiling. In can weigh nearly twenty pounds, thus causing tension on vulner-
addition, we mounted a scientist’s protective suit and a Spiderman able areas leading to deformation and tears. Improper storage not
costume that are completely sealed at the feet, so other areas only subjects these pieces to unnecessary stress but compromises
had to be bracketed in order to support the whole body. Lastly, James’ design intentions as the gowns lose the structure that James
Phyllis Diller, an animated stand-up comedienne who often masterfully composed. Conservators realized custom body forms
laughed loudly, is presented in her signature stance: hand on hip, were necessary to create a proxy for the human body to sufficiently
a side-bending posture, and holding a cigarette. The planning and support these dresses in storage.
execution of mounting these costumes will be explained in detail. These custom forms were created by 3D scanning extant
exhibition forms as well as accessioned original forms James
created. An affordable, consumer-grade 3D scanner was used to
3D Modeling and CNC Routering of successfully capture the “geometry,” or surface of the forms. The
Mannequins for Displaying Costume 3D files were edited through a series of Computer Aided Design
(CAD) programs and sent to a fabricator to cut Ethafoam from
Brenna Cook, Brendan Gallagher, Nick Kazakoff, Carmen Li a 5-axis Computer Numerical Control (CNC) machine. The
New developments in 3D modeling and computer aided manufac- forms will be padded and covered to ensure the dress contacts an
turing techniques including 3D printing have allowed for greater appropriately safe surface. These forms are intended to serve as
access to custom-created physical objects. The open-sourced nature the permanent support for the gowns, requiring a multipurpose
of the technology and the inclusion of 3D printers in community design for handling, storage, travel and photography. A custom
settings like libraries aligns with the values of not-for-profit insti- interchangeable hook attached to a pole and flange system will
tutions like museums. As part of its once-in-a-generation capital allow these forms to be hung or fixed on a base as needed. The
renewal project, the Royal Alberta Museum is engaging with advantages of 3D scanning and CNC routing include accuracy
this new technology to create custom-fit mannequins for its new and reproducibility of a form at any point. The 3D digital files, in
Human History galleries. Approximately 78 mannequins will be theory, can last forever and can be exchanged digitally. In addition
digitally modeled based upon measurements taken directly from to creating a suitable storage solution for the James collection, the
the objects intended for display. The mannequins will be routered objective was to demonstrate an efficient and effective method
out of planks of Ethafoam and heat sealed together using no to storing complex objects. This technique was made possible
adhesives or other unsafe display materials. Key to the success of without high-end equipment and serves as an affordable, acces-
this project will be clear communication between RAM conserva- sible alternative to the hand-carving method that yields a rough,
tors and local design firm onetwosix who will form the shape of imperfect storage form.

Textiles
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 TEXTILES

Making Ethafoam Mannequins using a CNC

Router
Gail Niinimaa, Nils Sundstrom
After 35 years of building mannequins by hand using a stacked
disc or cross sectional slab method, Gail Niinimaa, Niinimaa
Enterprises Inc., had the opportunity in 2016 to build 20 manne-
quins for the new National Music Centre in Calgary, AB, within
an 8-week time frame. Collaboration with Nils Sundstrom, Solid
Woodwork Ltd, a Calgary company that had both the CNC router
and the computer expertise, resulted in a very successful project.
Measurements taken from the actual costumes were used
to create the correct body type and size for each costume going
on display. Nils interpreted the 2D measurements and created
the 3D files that were needed and transferred them back to the
CNC cutting process. The CNC router was used to cut the 2”
planks of Ethafoam 220 into 5 sections per mannequin. These
sections were hot glued together with 3M low melt hot glue to
create the 3D forms. Gail finished the mannequins by completing
the final fitting, cutting the Ethafoam by hand where necessary,
covering with fabric and adding arms and legs when needed.
The use of this technology enabled the project to be completed
quickly and provided a better starting point for building a safe
mannequin compared to traditional mannequin making methods.
Overall there was less handling of the costumes and a better fit was
achieved with much less time and effort.
A variety of finishing methods were completed on the manne-
quins including padding with fiberfill batting, covering with jersey
knit and several different solutions were used for the arms and legs
including Fossshape, Ethafoam and soft sculpture. The collabora-
tion between a Textile Conservator and an Industrial Designer
helped this idea of making mannequins with the CNC router
become a reality. The opportunity to work with an upcoming
exhibition allowed us to develop a range of body types that would
work for this project. The paper will share the details of the
project and the process of using the CNC router for mannequin
construction.

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 WOODEN ARTIFACTS

Count Lamberg’s Roman Table in the furniture. While many reproducible models were originally
Rijksmuseum manufactured by standard molds, missing elements of bentwood
furniture can be a challenge to replicate.
Jan Dorscheid, Arie Pappot* This paper will focus on the treatment of a Gebrüder Thonet
rocking chair and the process employed to create a reproduction
In 2016, the Rijksmuseum accessioned a unique Roman baroque
of the rocking chair’s missing back splat. Technical challenges faced
table. The coat of arms of Count Leopold Joseph von Lamberg
when creating this back splat included the back splat’s compound
(1654–1706), the ambassador to the Court of St. Peter at the
curvature and the fact that the intact joinery of the crest rail, stiles,
Vatican between 1700 and 1705, is virtually ceremoniously
and lower rail physically locked out the insertion of an intact
staged above a cartouche with a trophy carried by the convoluted
replacement piece. Research determined that the chair’s original
stretcher. The table has exuberantly carved legs with a complex
back splat was constructed out of veneered ply, and a custom mold
arrangement of overlapping C- and S-scrolls, and supports a green
was built to form the reproduction piece out of bendable plywood
verde antico marble top. It is embellished with accentuating and
and beech veneer. In addition to the missing back splat, which
intricate gilt-bronze mounts in place of the more commonly used
served as a major component of the chair’s aesthetic continuity and
raised gesso gilding. Being a unique example for its time, the table
intended function, substantial areas of the finish were stripped and
is recognizably related to designs by Filippo Passarini from the
the surface was sanded, leaving newly exposed bare wood visible on
late 17th century and Carlo Fontana from the early 18th century,
nearly half of the chair.
while the carcass with its facades of false drawer fronts appears
Decisions regarding the overall treatment, which were
to be more old fashioned. A late 17th century pietre dure silver
informed by the existing wear on remaining elements of the chair,
cabinet made by Filippo Schor, Franz I and Dominikus Steinhart
will also be discussed. Given the degraded and worn appearance
for Palazzo Colonna in Rome provides a further link, as it bears
of the remaining finish, as well as the damage incurred through
striking resemblances in its carving and applied mounts.
partial stripping, the owner was also interested in learning more
The unusual joinery of the center table very much reflects the
about the possibility of the presence of original finish. Little is
work of a sculptor rather than a cabinet-maker, utilizing small
published on the original finishing techniques employed by the
tenons and threaded bolts for its joinery. The table is executed
Gebrüder Thonet Company, and it was decided that an inves-
in deeply carved pear and is stained to imitate a darker wood.
tigation of the finish on the rocking chair in comparison to the
Its somewhat lopsided overall appearance originates in twisted
available literature may shed light on the nature of the finish and
and warped components resulting from the use of timbers for
its potential originality.
the construction that possibly were not fully seasoned. This has
contributed to the overall instability of the center table.
Research into the table’s gilt mounts revealed the use of a
unique type of copper alloy which differs distinctly from the set A New Tool for the Traditional Toolbox
alloy standard used in Paris, and which were replicated later in Alton J. Bowman
England and Germany. Select mounts that have gone missing
seem to have been cast from the original ones. This paper details the combining of traditional French marquetry
Based on the joineries’ geometrical arrangement and a system- techniques with contemporary CNC inlay methods. The project
atical trial series, an optically and structurally more favorable is the replacement of a lost marquetry top for a writing desk base
leg-stretcher configuration could be determined. As the table attributed to Jean Francoise Oeben. The top chosen for reproduc-
remained somewhat lopsided, various possibilities such as repo- tion was the well-known mechanical desk by Oeben at the Getty
sitioning the bolts versus a replacement with modified hardware Museum. Topics discussed are ethical considerations, the relative
were discussed. The implementation of several structural modifi- advantages of each process, and similar works by Oeben in public
cations, without compromising original substance, proved crucial collections. Also noted are sources of period veneers and substitu-
to maintain the tables stability and re-establish its proud appear- tions for commercially extinct woods.
ance and optical symmetry.

Understanding Currently Accepted Practice:

Interpreting Thonet: Treatment of a Gebrüder Wood fills and conservation material decision-
Thonet bentwood rocking chair making
Paige Schmidt, Jonathan Thornton, Dr. Aaron Shugar, Dr. Rebecca Megan Narvey
Ploeger, Jiuan Jiuan Chen
The process of deciding which conservation materials to use when
Gebrüder Thonet was an Austrian based furniture manufacturer planning a treatment is of natural interest to conservators-in-
established in the 19th century. Often credited with the invention training. However, results from a series of interviews with profes-
of bentwood furniture, the company in fact developed the first sional object conservators in the UK indicate that material choice
mass manufacturing processes for harnessing the unique tensile in conservation is worthy of scrutiny by the profession as a whole.
properties of wood to efficiently produce affordable bentwood Wood is a material that may require conservation fills for a variety

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of reasons. When it comes to choosing a wood fill material, there case of the carnations, the chemical analysis and the study of the
are many different combinations of adhesive and bulking agent that surface through ultraviolet light was crucial for the identification
have been or could be used successfully. Many adhesives used on of the repaintings which allowed for their appropriate removal.
wood have been studied scientifically, with case studies published Structural consolidation includes the filling of large cracks with
about their use in conservation. There are fewer studies on the use balsa wood and wood paste. Paint layer consolidation done by
and properties of bulked adhesives. Without guidance from the injection using natural glue, following the composition of the
literature, how do object conservators make decisions about what original material. The removal of the over paintings, mud daubers
materials to use? and non-original substances using the appropriate products and
A series of interviews were conducted with object conservators tools for each task. Volume filling done using traditional stucco.
from a variety of backgrounds, working at six different museums Inpainting was applied with water colors and conservation varnish
in the UK. The results of the interviews show several obstacles in colors (Maimeri®). The technique used to distinguish the original
conservation practice that may at times prevent conservators from paint layer from the intervention is called tratteggio (three lines
achieving high standards of material decision-making. The results crossing, of three different colors or shades). For the last phase, a
of this research will be discussed during this presentation, with the natural varnish was applied as a protective layer.
goal of introducing a more open dialogue about material choice in
conservation practice.
Manufacture and Treatment Study of Coffin and
Mummy Cartonnage, at Egyptian Museum in
Conservation of The Immaculate Conception at Cairo
San Xavier del Bac
Moamen Othman, Eman H. Zidan, Rania El Atfy, Mohammed A.
Matilde Rubio, Timothy L. Lewis Hussein, Randa El Helw, Sabah Abdel Razek
The Immaculate Conception is an 18th century polychromed Ancient Egyptians used various materials to made coffins; stone,
and gilded wooden sculpture that resides in the Main Altar of ceramic and wood. They developed substrates and painting tech-
the Church San Xavier del Bac, located on the Tohono O’odham niques to cover the surface with using different pigments and
Reservation near Tucson, Arizona. It is a living church in which coatings. Technical studies, investigations and analysis applica-
the O’odham people, formerly known as Papago Indians, still tion are important to identify materials and core elements used
attend for various celebrations throughout the year. The church in the past.
is considered to be arguably the most significant historic building This deliberate study aims to analyze a wooden coffin and
in Arizona. mummy cartonnage presumably dated to late period. It was found
The Immaculate is represented as a young woman standing during a working season in the Egyptian Museum basement
over a half moon surrounded by a cloud and three cherubs. The storage in 2004. The only a single document that contain infor-
life-sized sculpture had been precariously standing in her niche mation about it was found in a report written by Maspero in
for at least 200 years. In fact, one of the major challenges during 1901, indicating that the object entered the museum collection
the course of our work was to bring down the sculpture from her in 1900. It was left unregistered since then. In Maspero’s report,
niche, located at a height of 19 feet from floor level, and putting he addressed that, it was discovered by Petrie excavating in Lahon,
her back up without causing further damage. Over the years, the Fayoum. The report includes a black and white photograph shows
different pieces of wood and the strips of canvas used for the joints the object by the time of discovery.
have moved and expanded due to the changes in temperature and The type of the coffin and cartonnage suggests a middle Egypt
humidity. This is the cause of most of the cracks that can be seen type of third intermediate and late period. The broad collar,
on the surface and which led to the loss of paint and preparation pendants, rosettes and other decorative elements suggesting
layers. The face, the hands of the Immaculate and the faces of the belonging to the late period stylistic motifs. The central inscrip-
four cherubs were overpainted, possibly at the beginning of the tion, which is repeated on both the coffin and the cartonnage,
20th century. The whole area of the sculpture was covered by a represents the offering formula addressing the god Osiris. The
thick layer of dust, grime, mud daubers etc. In most of the areas name of the owner was demolished in both coffin and cartonnage.
the silver leaf used for the garments has sulfated dramatically and The coffin set includes coffin base, lid and a mummy cartonnage.
turned a rusty brown color. Over the years, other damages were The wooden coffin lid (193 cm long) is made of four wooden
caused due to neglect. planks joined by wooden dowels, the wood base in the central
The course of conservation and restoration began in January area of the lid is covered by gesso and pigment, pigments vary;
2016 through mid-April of the same year. Preliminary studies were white, black, yellow, red and blue. The coffin base (193cm long,
done in 2015, which included chemical analysis of the paint and 48.5cm width and 34cm height) consists of 13 wood pieces
preparation layers, a brief research of the Immaculate history and that form the rectangular shape. Pieces are covered with mud as
previous documentation. Cleaning along with consolidation tests preparation layer and then were painted in yellow. The coffin base
were also performed. The chemical analysis gave us the composi- was dismantled into 11 pieces when it was first received in the
tion of the different stratigraphic components. We were able to conservation department.
identify the original paint layer as well as the over paints. In the

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The mummy cartonnage (180cm long) features a woman, the collections and their state of conservation.
iconography matched in both coffin lid and the mummy carton- 2. Assessing the conservation problems of the mentioned
nage. It is a mummy covered with more than 33 layers of textile assets in the Egyptian museums and proposing the
then gesso and then painted in bright colors; white, black, red, required conservation process within a general detailed
yellow and blue. The wooden coffin consists multi-layers: wood, comprehensive conservation plan. That includes:
gesso layer, additives (under investigation) and painted layer. There a. Evaluating the existing conservation facilities of the
are different pigments used in the decoration of the coffin: white museums and propose their upgrading.
background covered with blue, red, black and yellow for inscrip- b. Conducting a full assessment of the state of conserva-
tion and decorations. The state of the wood is very poor, the coffin tion of the collections.
is dismantled into many pieces (base, 2 sides and fragments), and c. determining the conservation needs of each collec-
some pieces are still joined together by wooden dowels. The head tion, in general, and the artifacts, in particular.
block has areas of loss, cracks, breaks and disjoints. Regarding the d. proposing a plan for upgrading the various collections
mummy cartonnage, the pigment and painting palette is quite in order to ensure the long-term future of the artifacts.
similar to the one in the wooden coffin. Its state of preservation 3. Documenting and gathering existing visual and textual
appears to be moderately stable except the lower parts that suffer documentation of the mentioned assets for digitization
some losses, cracks. The lower part (foot area) has a severe damage. and storage.
4. Surveying and reviewing the existing collections in some
museums/institutions in some countries as USA, India,
Preservation of the Endangered Cultural Assets UK and Italy.
5. Defining future development possibilities and feasibility
of the Traditional Egyptian Storyteller’s Heritage for further phases of the project to be undertaken.
and its Instruments and Tools 6. Writing full reports on the results include surveying,
Dr. Hany Hanna reviewing, assessment and documenting conducted, the
conservation plan and a short brochure on the subject.
The traditional Egyptian storytellers’ heritage is very important. 7. Designing a database with webpages to be related and
In its expressive singing, stylized speech, motion and assets, it is linked to the UNESCO website for the collections, with
one of the unique expressions of Egyptian’s rich performing arts basic information on their history, description, photo-
tradition and folk culture. It represents a repository for the rich graphs, etc.
spectrum of Egyptian folk history, symbolism and traditions not In this paper, the work conducted with the complete results
only in its intangible form but also in its instruments and movable will be summarized with some example details.
assets. There are several forms of this heritage:
1. In its cinematic form, the storytellers, for narrating the
stories accompanied by images, scenes and music, use a
Wood Working Tools as Art
wooden box (called Sanduk El-Donia “Peep show box”).
2. In the theatrical form, handicraft puppets (called Araquz Jonathan Thornton
or Qaraquz), made of wood and textile been used.
For many years I have made woodworking tools in order to explore
3. In its musical form, there are different storytelling
alternative and “ethnographic” methods of working wood, to
performed by vocalists and poets accompanied by
teach those concepts to students in art conservation, and to create
various musical instruments made of wood, reed and
my own works of art. Initially, these tools were more strictly func-
other materials (e.g. Rababa, Simsimiyya, Darbukkah
tional, though carefully finished and ergonomic. In time, the tools
and Mizmar).
became more obviously sculptural, though the utilitarian aspect
The assets of the traditional Egyptian storytellers’ heritage are
was never lost. In recent years my tools have become zoomorphic
very rich and have an irreplaceable value to our understanding of
and sculpturally sinuous, using natural and found materials, and
past and present cultures and they require care to preserve their
incorporating hand-forged blades. Materials include tool steel,
value for future generations. The danger of losing such heritage
“Damascus” steel, various types of wood, stone, glass, cordage,
and its assets is latent. It is rapidly disappearing for several reasons.
leather, ivory and bone.
A project been launched in cooperation between The UNESCO
This approach is informed by many cultures worldwide
Office in Cairo, ICOM-CC-Wood, Furniture and Lacquer WG
that have produced elaborately decorated tools, sometimes to
and The International Storytelling Center (ISC) Jonesborough,
the point that function can be perceived as compromised. The
Tennessee, USA, during which a survey, review, inventory and
spiritual power of tools and their master-users in other cultures
assessment of the assets of traditional Egyptian storytellers’
will be touched on. This paper will present a selection of my
heritage been conducted in the Egyptian museums/institutions as
sculptural tools as well as their inspiration, including those based
well as some international museums/institutions.
on the “crooked knives” of Native Americans, axes and adzes of
The work includes:
Pacifica and the Northwest Coast of North America, bow drills
1. Surveying, reviewing and assessment the existing
of Africa, the “spear plane” of Japan, and scorps and chisels of
collections in the Egyptian museums, in order to assess
more innovative design not obviously derived from ethnographic
the representative-scope, quality and quantity of the

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prototypes. My methods of work will be described. Fine points Old Meets New: Consolidation techniques
of form following function will be detailed, as will other subtle
aspects of hand tools. Use of the tools will be linked to the actual Elizabeth Peirce
objects that were made using them. As Chinese export lacquer degrades, it becomes increasingly more
sensitive to staining by polar solvents. This is a particular problem
when trying to consolidate the lifting and cracked surfaces that
Technical Analysis and Conservation Treatment frequently occur on export lacquer pieces. Choosing a consolida-
of a Mid-Eighteenth Century Chinese Carved tion material and method often becomes a difficult challenge.
Proteinaceous adhesives, such as hide glue or fish glue, are more
Wood Lacquer Bodhisattva Sculpture sympathetic with the binder in the ground, making retreatment in
Lisa Ackerman, Jonathan Thornton, Dr. Aaron Shugar, Dr. Rebecca the future simpler. However, these adhesives are transported in an
Ploeger, and Jiuan-Jiuan Chen aqueous solution which can be damaging to the lacquer surface.
As part of my fellowship year, I was charged with treating a
Asian lacquer is an ancient art form resulting in a beautiful, hard, six-paneled screen in need of extensive consolidation. Standard
gloss material derived from resin that comes from the sap of sumac consolidation techniques which had been used for the treatment
trees in the Anacardiaceae family (Rivers and Umney 2003). These of other export lacquer pieces within the collection were proven
trees grow in a number of Asian geographical regions. In China to be too damaging to the screen for two reasons. One, the screen
this traditional lacquer is known as qi, however, the Japanese term had never been varnished, leaving the lacquer surface exposed
urushi has become commonly accepted for Asian lacquers. Both to staining from consolidants, and two, it was highly sensitive
qi and urushi are made from urushiol sap collected from Toxico- to both water and ethanol. Synthetic adhesives, such as Lascaux
dendron verniciflua. Vietnamese and Taiwanese lacquers are made MFC and Plextol B500 were tested and were deemed insufficiently
from laccol sap collected from Toxicodendron succedaneum, strong. Additionally, because the screen was being treated as part
and thitsiol sap from Gluta usitata is used in Thai and Burmese of a collection of objects as part of an IMLS grant, consistency
lacquers. Also depending on the country of origin, other organic between interventions was highly desirable.
materials such as drying oils, persimmon juice, blood, animal glue, Three major changes to the technique were made. First, the
wood oil, benzoin and starch are often added to the lacquer to humidification technique was abandoned; the combination of
alter working properties, appearance and cost. heat from warmed steel shot baggies and injected 1:1 ethanol:water
Minerals and/or organic pigments are often used to add color created a microclimate that severely damaged the lacquer surface.
(“Characterization of European and Asian Lacquers” 2010). Inert Instead, Vivak, a clear acrylic used in mount making, was bent
organic fillers such as clay or powdered ceramic are often added to form long, rectangular humidification chambers that removed
to thicken and provide body. Urushiol is the main monomeric contact of liquid solvents with the lacquer surface. Second, fish
component of urushi lacquer. Lacquer is applied wet and hardens glue, with its longer open time and fluidity at room temperature,
when exposed to humid air. Molecules in the resin absorb oxygen replaced the hide glue, which required frequent reheating of the
and form a durable, cross-linked polymer that is impervious to needle to maintain fluidity. Last, and most important, a new
water, salts, acids and alkalis and is insoluble in any solvent (Ma, consolidation technique using silicone solvents to flood the surface
Lu and Miyakoshi 2014). Often for export lacquerwares, laccol, and protect it from excess adhesive was tried. Silicone solvents D4
a much less expensive lacquer, was used while reserving the more and D5 had been successfully used as part of a cleaning regimen
costly urushi for lacquerwares that were made to stay in China. as a protective barrier for another lacquered piece in Winterthur’s
This project involved the technical analysis and conservation collection. As a barrier for consolidation, they were found to not
treatment of a mid-18th century Chinese carved wood lacquer stain the surface, to evaporate slowly enough to allow the removal
bodhisattva sculpture, thought to be made for a Chinese emperor, of excess adhesive safely, and to not leave any noticeable change
and not for export. to the surface after evaporation. This new technique has been
In order to determine the materials used, method of manu- extremely successful when applied correctly and was particularly
facture, confirm the country of origin, and determine a method helpful in stabilizing this particularly difficult object.
of treatment; conservation issues were assessed, and sampling was
conducted in appropriate areas of the lacquer for analysis. Exami-
nation and analyses were carried out using photographic tech-
niques, x-radiography, optical microscopy, X-Ray Fluorescence Conservation and Analysis of a Pair of Qing
spectroscopy (XRF), Scanning Electron Microscopy and Energy Dynasty Lacquer Clothes Wardrobes in the
Dispersive X-ray Spectroscopy (SEM-EDS), Fourier Transform Collection of the Philadelphia Museum of Art
Infrared spectroscopy (FTIR). Pyrolysis–Gas Chromatography–
Mass Spectrometry (Py-GC-MS). The results were then used to Wei Kao, Kate Duffy, Hiromi Kinoshita, Peggy Olley, Behrooz
consider the types of materials used, the fabrication method, and Salimnejad, Beth Price, Kelly Conlin, and Barbara Fisher
possibilities of origin and quality; and to formulate a suitable A pair of Qing dynasty (1644-1911) lacquer clothes wardrobes
plan for treatment using appropriate conservation materials and (1940-7-1, 2) has long been considered a highlight of the Chinese
methods. art collection in the Philadelphia Museum of Art. The large

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wardrobes each consist of a lower and upper cabinet with gilt (IRR), and hand held x-ray fluorescence spectroscopy (XRF).
lacquer decoration of dragon and lotuses appropriate for furniture Over forty cross-sections were taken and examined by visible
made for an imperial family. and fluorescent light microscopy (VLM and FLM) revealing the
In 2015, the wardrobes were selected to be a part of a special decorative stratigraphy. Several of the multi-layered cross-sections
exhibition. Due to years of use as display cases, they required were then exhaustively separated into discrete layers which were
conservation treatment, including structural repairs and consoli- then analyzed by pyrolysis gas chromatography-mass spectrom-
dation of the surfaces. The treatment was also an opportunity for a etry (Py-GCMS) and Fourier transform infrared (MFTIR) micro
comprehensive technical study. The first wardrobe to be brought to spectroscopy analysis. Elemental analysis of each layer was also
the lab was 1940-7-2 due to the need for major structural repairs; undertaken by scanning electron microscopy with energy disper-
this was the primary focus of the technical examination described sive x-ray spectroscopy (SEM-EDS).
below. Wardrobe 1940-7-1 was studied for comparative purposes. Preliminary results identified urushiol as the lacquer
Initial analysis revealed a complex stratigraphy, including an component, in combination with heat bodied oil; in several of
earlier decorative campaign. Examination of the structure revealed the samples, tung oil was tentatively identified. Initial results of
dissimilar construction techniques between the upper and lower the technical study, including analysis of the structure and surface,
cabinets. In order to clarify these initial findings, a battery of scien- strongly suggest that the wardrobes current surface presentation
tific methods was employed for the examination of the wardrobes. attempts to unify the cabinets. Ongoing curatorial research on
The methods chosen for the initial examination were: ultraviolet both wardrobes including stylistic analysis of the form, decora-
(UV) light examination, x-radiography, infrared reflectography tion, and hardware indicates a mid-Qing dating.

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 JOINT SESSIONS
ARCHITECTURE + WOODEN ARTIFACTS

The Framing of a Masterpiece: The history and the New Deal era into the 1950s.
conservation of a monumental tabernacle frame In 2015, efforts began for conservation treatment of Gorham’s
1938 mural “Send Us Forth To Be Builders of a Better World,” the
William B. Adair, Stephan C. Wilcox first since its installation, and the first technical study of Gorham’s
work. The mural, measuring 128 square feet, was designed specifi-
In the past, Museums sometimes deferred the care and treatment
cally for the entrance foyer of Chapman Elementary School in
of frames in favor of the treatment of the paintings they housed.
Portland. Gorham used an extensive selection of domestic
Often a new frame was selected over the old in accordance with
and exotic wood veneers to achieve remarkably varied effects
changes in fashion, time and ownership. The old frames were
of chroma, grain and chatoyance, that were identified during
then deaccessioned or put in storage, resulting in areas bulging
treatment. The veneers were adhered to plywood panels that were
with discarded frames waiting to be reunited with an appropriate
only then gaining popularity for interior decorative wall paneling,
painting.
built-in furniture and cabinetry for modern architectural applica-
This benign neglect has now actually provided conservators
tions. The plywood substrate, quite novel at the time, provided the
with rare opportunities for proper conservation treatments of
structural stability that allowed Gorham to extend the dimensions
important historical frames. In this paper, conservators William
of her compositions to grand formats, resulting in panels that have
B. Adair and Stephan C. Wilcox, explain the various treatment
remained quite planar despite the unstable environmental condi-
options available and elucidate the rationale leading to the final
tions in which they have been housed.
decisions for conservation of the tabernacle frame for Bellini and
The Chapman mural had suffered considerable surface damage
Titian’s The Feast of the Gods. The tabernacle frame has now been
due to delamination of the veneer, scratches, vandalism, and inop-
conserved back to its intended finish.
portune previous coatings that had obscured the glowing figural
The Feast of the Gods was originally commissioned by the
effects of the wood grains. A group of conservators and researchers
Duke and Dutchess of Ferrara in 1514 as part of a series of paintings
of diverse specialties (architectural, wood science, paintings, wood
placed in an architectural setting for the Gonzaga’s palazzo in
panel, objects) undertook the treatment, employing an interdis-
Mantua. The frame, complete with pilasters and polychrome
ciplinary approach to address various aspects of the project. The
entablature, is considered by some to be one the most important
mural was reinstalled in its original location in the summer of 2016.
Renaissance paintings in America. In particular, the dilemma of
The authors will discuss the conservation treatment of “Send
what time in history a work of art should be presented to the
Us Forth to be Builders of a Better World,” and the particular
viewer will be discussed. Starting in the mid 19th century, when
technical aspects of the marquetry mural, in the context of Aimee
the Camuccini brothers from Rome sold the Feast of the Gods to
Gorham’s opus and her access to new innovative engineered wood
the 4th Duke of Northumberland, to the 1916 sale by London
materials manufactured in the PNW. Gorham’s marquetry was a
dealers Thomas Agnew and Arthur Sulley to Joseph Widener, and
unique product of her time and place that combined the Arts and
eventually bequeathed to the National Gallery of Art.
Crafts-inspired ancient technique of marquetry with the newest,
cutting-edge industrial wood products of the era, mechanical
presses, and industrial furniture coatings.
Aimee Spencer Gorham’s Wood Marquetry of the
Pacific Northwest
Nina Olsson, Dr. Suzana Radivojevic, Morgan Hayes Treatment of Appleton Organ at the
Metropolitan Museum of Art
The old growth forests of the Pacific Northwest provided the raw
materials for the creation of a flourishing wood products industry Jennifer Schnitker, Manu Frederickx
during the late 19th and early 20th century. In 1905, the Lewis
In 1982, the Department of Musical Instruments at the Metro-
and Clark Exposition touted Portland, Oregon, as an ideal “City
politan Museum of Art installed a fifteen-foot, sixteen rank pipe
Beautiful,” inspiring architects, artists and craftsmen to celebrate
organ. Built in 1830 by the well-known Boston craftsman Thomas
the regional beauty of pristine natural landscapes by building with
Appleton, this organ survived nearly musically unaltered, an
native wood materials. It was in this forested backdrop that Aimee
unusual fate for such instruments and largely the effect of benign
Spencer Gorham produced, from 1936 on, a series of site-specific
neglect. It is considered to be amongst the finest examples of
large-scale wood marquetry murals under the WPA Federal Arts
Appleton’s work, in addition to being the earliest known extant
Project. She is best known for her work at Timberline Lodge, the
organ by him. At the Met, it has served as an important part of the
greatest New Deal project of the area, where two of her pieces
musical instrument collection and has been played semi-regularly
grace the walls of that temple to rustic regionalism.
since 1982, to the delight of both public and patrons.
Under WPA programs, Gorham produced marquetry murals
In February 2016, the Department of Musical Instruments
for Oregon State University’s School of Forestry, Portland Public
closed its galleries to the public to begin a two-year gallery renova-
schools, regional art centers in Oregon, and for the New York
tion project. This offered a rare opportunity for museum conser-
World’s Fair in 1939. She established a workshop of furniture
vators, alongside an outside restorer, to undertake a substantial
makers from Timberline Lodge that executed her designs beyond
evaluation, documentation, and treatment of this important organ.

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ARCHITECTURE + WOODEN ARTIFACTS
The work undertaken on the organ can be divided into two Structural Treatment of Wooden Beams
categories: treatment of the musical mechanism and treatment
of the casework. Treatment of the mechanism was critical at this Mostafa Sherif
point in time for satisfactory function of the instrument during Wooden beams of ceilings in historical buildings in Cairo are
performance. For the Appleton organ this included pipes, bellows, suffering from overloads, biodeterioration, and human and
and windchest and was considered essential work in the scope of environmental deterioration that is causing cracks, deflection,
this project. Often this type of intervention requires a conservator and twisting or broken wooden beams. Study of wooden ceiling
of musical instruments to collaborate with outside builders and conditions in the Ganem Albahlawan mosque in Cairo found
restorers who are expert in dealing with the musical implications a five broken beams and deterioration of wooden panels in the
of their interventions. Such collaborations are not necessarily ceiling. A numerical study and specific survey of this case study
straightforward and require time and compromise to obtain the was made through structural calculation for each wooden beam,
best possible outcome for the instrument. and an intervention proposal. Furthermore, an experimental study
Intervention on the casework, was performed in house by the is presented about use of fiber reinforcement polymers (FRB) to
two musical instruments conservators. The organ casework has treat broken wooden beams. Three groups of wooden samples were
suffered the effects of cumulative light damage over the thirty years used: small, medium and full-scale sample beams. The samples
since installation. The mahogany boards and veneers have faded were evaluated by bending and testing strength, while the experi-
significantly and the restoration coatings of beeswax had become ment study used many methods of treatment, changing the type
dull and grey-tinged. Conservation work focused primarily on the of FRP or applying different methods to be calculated and suitable
development of a two-part coating system which would protect for the span, condition, and the load capacity of wooden beams.
the wood from further light damage and at the same time improve Results showed the ductility of wooden beams increased, to absorb
its aesthetic authenticity. It is clear that a treatment begins long loads of more ten times than before treatment; this revives the
before a conservator begins to touch a work of art and, further, historical wooden beams so they can continue their function.
that musical instruments bring their own challenges in terms of
conservation, use, and display. The environmental challenges of
the display location, feasibility and longevity of our interventions,
appropriateness of restoration work, monetary and time costs, and
Exposing Graffiti in George Washington’s Cupola
role of the instrument within and outside of the institution all Steven Stuckey
needed to be weighed.
While time and monetary costs of treatment are always Frequent visitation to George Washington’s Mount Vernon home
significant factors in the decision-making process, in this case, the has been a common occurrence since the 18th century, and
consequences of not intervening weighed heavily in the equation. sometimes those visitors left a permanent memory. “Exposing
The guarantee of further deterioration, at least in the short-term, a Graffiti in Washington’s Cupola” is about uncovering the signa-
lack of aesthetic authenticity, and loss of public access to a playing tures of guests visiting Mount Vernon during the 19th century and
organ in a museum collection, coupled with the fact that oppor- specifically leaving their mark in the iconic cupola. This paper will
tunities for intervention are rare, argued in favor of treatment of explore a change in an approach to treatment of the wood window
mechanism and casework. architraves in the cupola that was initially designed to completely
remove the existing coating, but was then modified to conserve
specific layers of paint containing names, dates, and locations in
pencil. Discussion will also cover varied techniques utilized for
the pre- and post-treatment documentation of the architectural
elements, including digital photography, measured drawings,
computer generated modeling, and multi-spectral imaging. Lastly,
the long-term maintenance and utilization of the architraves will
address the plan for extending the life while displaying this unique
piece of architectural history at Mount Vernon.

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 JOINT SESSIONS
BOOK & PAPER + RESEARCH & TECHNICAL STUDIES
Lessons from a Large-Scale Survey of Parchment The Codex Eyckensis (8th century):
Animal Origin and Production Quality Re-evaluation of the 20th century restoration &
Matthew Collins conservation treatments
Parchment manuscripts sit at the nexus of digital, biological and Lieve Watteeuw, Marina Van Bos, Bruno Vandermeulen
physical sciences, history, art, and literature. Can a simple PVC The Codex Eyckensis was most probably written at the scripto-
eraser link these together? Traditionally, an eraser is an article of rium of Echternach (Luxembourg) in the 8th century, and was
stationery used to remove writing from paper. Yet when combined brought to Aldeneik (northeast Belgium) by Saint Willibrord.
with biomolecular analysis it can also be a medium to ascertain the This restrained pre-Carolingian codex is a splendid example of
animal identity and production quality of medieval manuscripts. the dynamic confluence in the 8th century of the insular formal
The eraser strokes the parchment generating a strong electrostatic idiom and the artistic characteristics developing on the European
charge which lifts the grime from the parchment surface; trapped mainland. After the drastic conservation treatment of 1957 with
in the grime are tiny amounts of biomolecules from the parchment heat sealing plastic foil, the Codex Eyckensis (8th century) was
itself, small samples yes, but enough to be analysed by modern fully conserved in the 1990s by removing the Mipofolie lami-
instruments. nation of the parchment and recreating the missing areas with
Parchment books and documents are the fundamental vehicle parchment pulp. Since the conservation was finished in 1992, the
for the transmission and preservation of a millennium’s worth manuscript was kept in the crypt of the Saint Catherine’s church,
of written culture. Hence their systematic study (palaeography, a place with a highly unstable climate.
codicology and diplomatic) have long been recognized as essential After 25 years, the need for a re-assessment of the Codex
disciplines for many areas of humanistic study. For scientists, Eyckensis urges itself, the more that the possibilities for in depth
however, the parchment record of the past represents an unrecog- research have developed considerably. In the ongoing survey, the
nized and untapped reservoir of genetic and biological informa- condition of the parchment and the stability of the leafcasting
tion. And because a considerable number of parchment books and with parchment pulp is evaluated. Multispectral imaging and
documents can be precisely dated and localized--the molecular material-technical analyses aim to shed light on the condition and
information derived from them has enormous yet largely unreal- the creation of the writing and illuminations of the pre-Carolinian
ized value for the fields of bioarchaeology, paleozoology, anthro- codex. In the new study project (2016-2018), 25 years after, the
pology, and historical ecology. codex will be re-assessed using non-destructive analytical and
Both manuscript studies and biomolecular research are, in a imaging techniques.
sense, forensic: the former, because the disciplines of palaeography Linking conservation information of the past (1992) with
and codicology depend on exacting study of regularities in human new data, will evaluate protocols applied at the end of the 20th
production of one class of artefact; the latter, because biomolecular century and contribute to the future preservation of the Codex
analysis yields the DNA of the animal that provided each indi- Eyckensis. During the campaign in the 1990s, no material
vidual leaf. However, these disciplines currently stand at opposite technical analyses were carried out. The combination of XRF,
ends of the epistemological spectrum. Students of manuscripts XRF-mapping and Raman spectroscopy were used to characterize
and texts have long recognized that the most exacting study of the materials and inks used in the Codex Eyckensis. The removed
individual artefacts is the necessary foundation of their work, Mipofolie foils have been archived since the treatment in 1992.
even when they seek larger patterns. Science in contrast is moving These foils were highly adhering to the parchment; it was not
towards a new mode of cognition enabled by mechanical informa- always possible to remove the PVC foils without removing some
tion generation techniques. Colloquially known as “Big Data,” small paint fragments. These were analyzed using complementary
this new approach turns the old hypothetico-deductive model on but destructive analysis techniques aiming at the identification
its head to harvest data and share it across networks so that analysis of organic components (binder/colourant). Complementary with
is done by large teams seeking patterns in the data rather than the analytical data, imaging will contribute to the condition eval-
seeking to corroborate prior hypotheses. uation and material characterization. Within the framework of
With the collaboration of colleagues worldwide who have sent RICH (KU Leuven) a multispectral, multi-directional, portable
us eraser shavings from parchment we are building up evidence and dome-shaped acquisition system has been developed to image
of the exploitation of past animal populations and their distribu- with photometric stereo. Visualisation of pigments can be realized
tion in time and space, and are adding a new category of evidence based on reflection maps. These findings are evaluated using the
concerning the provenance of unlocalized manuscripts. data obtained in a laboratory set-up and using the data obtained
through XRF, XRF-mapping and Raman. The new assessment
and technical study of the Codex Eyckensis reflects the complex
material and conservation history of the 8th century codex.
As the treatment was well documented 25 years ago, the new
data are adding multiple layers of information. This research
provides new insights into the origin and the creation of the
illuminations and contributes to the in-depth knowledge of the
oldest manuscript kept in the Low Countries. The study gives

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BOOK & PAPER + RESEARCH & TECHNICAL STUDIES
reflection to the dynamics of conservation history, the importance measurement methods are currently in use.
of ongoing data collecting, revealing new challenges in technical This seemingly basic and familiar measurement, however,
documentation with recent imaging techniques and non-destruc- contains a depth and complexity that becomes apparent when
tive analytical tools. pondering the differences between the industrial, ISO standard,
and the numerous published variant methods, including surface
measurements, miniaturized methods, cold extraction, and hot
Contacts That Leave Traces: Investigations extraction. Are the results comparable from the different methods?
Which approach is best? Over the last few years, the Library of
into the contamination of paper surfaces from Congress Preservation Research and Testing Division (PRTD)
handling has revisited its standard protocols for pH measurement of paper
Karin van der Pal, Simon W. Lewis, Wilhelm van Bronswijk, and board in the contexts of quality assurance needs for collection
Rachel S. Popelka-Filcoff, Gregory D. Smith housing and exhibition materials, special collections needs, and
scientific research samples.
The contamination of paper surfaces during the process of This talk will include a short discussion of the fundamentals
handling documents is a significant issue for forensic scientists of paper pH measurement, focusing on how aspects of sampling,
and conservators. In the forensic context, it has been found that sample preparation and measurement method affect the results
polyvinyl chloride and latex gloves would leave handprints on obtained. The various methods in use in our lab from the early
porous and non-porous surfaces after 20-40 minutes of wear by 1970s to the present will be discussed, with focus on our recent
a subject.[1] Anecdotally, it has been seen by both forensic prac- efforts to streamline our semi-automated measurements, to
titioners and by fingerprint researchers at Curtin University that conduct direct comparisons between methods, and to develop a
nitrile gloves can also leave fingermarks on paper after periods of reliable miniaturized pH determination method.
wear. The issue of whether to wear gloves or not to wear gloves
when handling documents has also been a matter of controversy
in the conservation and archivist community.[2] Prue McKay at
Centuries of Cellulose: Lessons learned from
the National Archives of Australia carried out some preliminary
studies to determine the potential for contamination from gloved the molecular size of cellulose in naturally-aged
and non-gloved hands when handling paper items.[3] paper collections
However, other than the papers mentioned above, there is a
Dr. Andrew R. Davis, Dr. Fenella G. France
paucity of published research in this area. A research project has
been initiated at Curtin to explore this issue by using a range of Size-exclusion chromatography (SEC) has been used successfully
forensic fingerprint techniques to investigate the level of finger- for many decades as a tool to quantify the molecular structures
mark contamination on paper items handled with bare and covered of large synthetic polymers and to draw connections between
hands. Subsequently, the effect of latent fingermarks on paper molecular size and material properties. In contrast to the success
items will be investigated using artificial aging. This presentation of SEC for measuring synthetic polymers, paper and cellulosic
will give an overview of the background of the methods to be used polymers provide inherent difficulties for similar chromatographic
as well as presenting some of our initial results. Acknowledgments: analyses. Improvements in instrumentation and experimental
The authors thank Terry Kent and Prue McKay for useful discus- procedures have slowly and markedly improved the current state
sion concerning this research. of molecular characterization of cellulose by SEC.
References [1] Willinski G. J Forensic Sci. 1980; 25(3):682- This work begins to draw connections between the size distri-
685 [2] Baker C.A and Silverman R. International Preservation butions of cellulose molecules to the known properties of variously
News. 2005; 37: 4-17 [3] McKay P. 5th AICCM Book, Paper and treated and aged collection materials. The Barrow Books Collection
Photographic Materials Symposium. 2008; 1-10 at the Library of Congress provided an excellent starting point for
using SEC in complement with other analytical techniques, both
non-invasive and destructive, to evaluate the long term stability
Revisiting Paper pH Determination: 40 years and treatment of paper-based collections. Existing data from the
well-characterized collection includes chemical-scale properties
of evolving practice in the Library of Congress (e.g., pH and chemical functionality) up to macro-scale proper-
Preservation Research and Testing Laboratory ties (e.g., mechanical strength and colorfastness). However, a gap
Cindy Connelly Ryan, Michelle Youket, Lynn Brostoff, Eric Breitung has long existed between these two scales. Little data is available
at the scale of polymeric macromolecules, where initially minute
The pH of paper is a fundamental indicator of its long-term chemical changes eventually translate to macroscale degradation.
stability, and is routinely considered by conservators, cultural Recent work from the Preservation Research & Testing labs at
heritage scientists, and collection care professionals in the process the Library of Congress has used both the Barrow Books Collection
of making decisions about collection storage, handling and access as well as a selection of paper from American sources to investigate
policies. The results of pH are frequently considered as part of how SEC might be used to complement existing conservation data
conservation treatment planning, and are nearly always included and analyses. For example, SEC quantifiably identifies the conse-
in research studies related to paper preservation. An assortment of quence of alkali treatments on preserving cellulose polymer chain

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BOOK & PAPER + RESEARCH & TECHNICAL STUDIES
lengths, which strongly correlates to eventual paper embrittlement. Because aniline dyes have varying sensitivities to different
Attempts at correlating new experimental data with existing data solvents it is necessary to characterize them before an appropriate
from books in Library’s collection also demonstrates the inherent treatment protocol can be developed. A previous study of Posada’s
challenges and opportunities for using SEC to identify structure- prints identified several aniline dyes using Fourier Transform
property relationships between the molecular structure of cellulose (FT)-Raman spectroscopy. Of these, the yellow dyes could not be
and the properties of aged paper collections. fully characterized. In this study, time-of-flight secondary ion mass
Assessing various conversation treatments in this way could spectrometry (TOF SIMS) was used to discern the dyes present in
better inform conservators on predicting the efficacy of paper the colored papers with particular focus on the yellow dyes.
preservation treatments. It appears likely that minute changes in TOF SIMS is a valuable analytical technique for the identifica-
the statistical distribution of polymer sizes in aged paper, easily tion of organic and inorganic components. Its high sensitivity and
measured by SEC, could provide an early indicator of degrada- small sample size requirements make it potentially useful for the
tion and might allow improved design of artificial aging studies. analysis of dyes and works on paper. For this study a selection of
More effectively linking micro analytical determinants to current Posada’s prints in various colors from the Amon Carter’s collec-
destructive mechanical testing is critical for assessing use and tion were examined using TOF SIMS. Preliminary analysis has
condition of paper based historic collections. produced significant data for all the dyes analyzed. FT-Raman
analysis was also conducted on these prints to verify the results.
As part of developing a treatment protocol for the Posada
Characterization of the Aniline Dyes in the prints, an experiment was set up using artificially aged paper and
tapes to simulate the removal of oxidized tape from fragile dyed
Colored Papers of Jose Posada’s Prints Using papers. A variety of methods were employed. Samples were created
Time of Flight-Secondary Ion Mass Spectroscopy by applying Scotch MagicTM tape (acetate backing; acrylic
(ToF-SIMS) to Aid in Developing a Treatment adhesive), 3M 2214 paper tape (crepe paper backing; rubber
Protocol for the Removal of Oxidized Tape adhesive), gummed brown paper tape (kraft paper backing; starch
adhesive), and Slime rubber cement to several c.1900s dyed and
Stacey Kelly, Jodie Utter, Amy Walker, Ashley Ellsworth, Jenny K. undyed broadsides, mimicking the Posada prints. The samples
Hedlund were then “treated” with solvent and suction, solvent vapor, solvent
Jose Guadalupe Posada (1852-1913) was a prolific and influential through Gore-tex sandwich, and rigid Gellan gum with solvent.
Mexican printmaker; he produced thousands of images printed The samples were imaged using visible light and Ultra-Violet
on a variety of poor-quality papers, often colored with vibrant (UV) before and after treatment, along with spectrophotometer
but fugitive aniline dyes. The Amon Carter Museum of American readings to monitor and record any changes in the samples.
Art has a large collection of approximately 400 prints attributed Because aniline dyes are prevalent in many turn of the century
to Posada, many of which retain their bright color. A number of objects, as are oxidized tapes, developing an effective treatment
these are unstable due to oxidized pressure-sensitive tape residue, protocol has tremendous potential benefit.
penetrating and weakening the short-fibered paper. In addition,
aniline dyes are sensitive to solvents, complicating treatment.

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PAINTINGS + RESEARCH & TECHNICAL STUDIES
Practice-led and Practice-based Collaborative that the painting could be an original work.
Research at Tate: Supporting the advancement of In this study, various findings and interpretations from 1983
were re-evaluated in light of recent technical scholarship and
modern and contemporary painting conservation advances in analytical techniques. This includes a re-evaluation
treatment practice of dendrochronological data from 1983, with further analysis
Bronwyn Ormsby carried out in 2014 by Ian Tyers. Emerging analytical and imaging
technologies like macro x-ray fluorescence scanning (MA-XRF)
Several collaborative practice-based and practice-led applied research provided key new insights into the painting’s materials, construc-
projects involving Tate and other key partners will be discussed. These tion, and relationship to the other versions.
involve treating specific conservation problems or exploring specific Technical examination shed light on the numerous stages of
artist or conservation materials; all of which ideally contribute to the reworking in subject matter and composition. Crucially, MA-XRF
advancement of conservation treatment methodologies and practice (carried out by University of Antwerp) revealed important penti-
for modern and contemporary paintings. Examples include the menti painted in earth, black, and copper-containing pigments,
recent Rothko Conservation Project1, current EU-funded projects which were previously invisible in x-radiography. This paper will
such as NANORESTART2 and the Cleaning Modern Oil Paints also reflect on how incorrect data given by dendrochronology in
(CMOP)3, as well as the ongoing collaboration between Tate, the 1983 was able to skew the interpretation of many other technical
Dow Chemical Company and the Getty Conservation Institute4. findings. Certain old assumptions and interpretations were thus
These projects can involve international and national collaborations challenged in light of the new results. Aspects of the painting
between painting conservators, heritage scientists, paint chemists, as technique that were previously assumed to be uncharacteristic of
well as academic and industrial partners; many of which have been Lievens or Rembrandt have been re-assessed in the context of the
underway for several years (in some cases prior to Tate’s involve- significant body of technical and historical research published on
ment). Key aims and outcomes of these projects will be outlined, the artists since the painting was last examined. These findings
alongside reflections on research processes, as well as the ongoing allowed the Upton picture to be re-attributed as an original
challenges and successes of translating research findings into painting by Lievens, rather than one of the many copies after a
practice. lost work.
1. http://www.tate.org.uk/about/projects/rothko-conservation-project
2. http://www.nanorestart.eu/
3. http://www.tate.org.uk/about/projects/cleaning-modern-oil-paints
4. Ormsby, B.A., Keefe, M.H., Phenix, A., von Aderkas, E., Learner, T., A Confusion of Colors: Yellow and red pigments
Tucker, C., and Kozak, C. (2016). ‘Mineral Spirits-based Microemulsions: in the decorative scheme of the tablinum in the
A Novel Cleaning System for Acrylic and Other Modern Painted Surfaces’.
Journal for the American Institute for Conservation. Issue 55-1, pp. 12-31. House of the Bicentenary at the archaeological
site of Herculaneum
Leslie Rainer, Kiernan Graves, Gilberto Artioli, Arlen Heginbotham,
Re-examining Old Findings and Inferences: The Francesca Piqué, Michele Secco
study of A Magus at a Table by Jan Lievens
The conservation of the architectural surfaces in the tablinum
Shan Kuang of the House of the Bicentenary at the ancient Roman site of
Herculaneum is a collaborative project of the Getty Conservation
Jan Lievens and Rembrandt van Rijn were born just over a year
Institute, the Herculaneum Conservation Project and the Soprint-
apart, studied with the same master in Amsterdam, and main-
endenza Pompeii. As part of this project, a study was undertaken by
tained a close artistic relationship in Leiden from 1625 to 1632.
a multi-disciplinary team comprised of conservators and conserva-
Due to the many parallels in their early artistic practices and
tion scientists to understand the effects of the catastrophic 79 CE
subject matter, even contemporaries were sometimes uncertain
eruption of Mt. Vesuivus on the wall paintings at Herculaneum.
about the attribution of their works. It is perhaps not surprising
Due to the eruption, Herculaneum was destroyed as a living city,
that the attribution of A Magus at a Table (Upton House, National
and yet preserved nearly intact for two millennia, buried under
Trust) has been elusive. Previous attributions included Lievens,
twenty meters of volcanic material.
Rembrandt, and “after Lievens.”
Discovered in 1709, and excavated as an open-air site in the
The painting is one of at least six versions of the same composi-
early to mid-twentieth century, Herculaneum preserved a wealth
tion. In addition to the identity of the artist, the subject matter of
of Roman cultural heritage, including the exquisitely painted walls
painting is also unresolved. Perhaps the most inexplicable element
of the tablinum of the House of the Bicentenary. The decorative
of the picture is the extensive, tree-like foliage above the altar, in
scheme of the tablinum is composed of red, yellow and black
what would otherwise be an indoor scene. Despite the presence of
monochrome backgrounds with decorative borders and floral and
pentimenti, the Upton picture was re-attributed to be a copy of a
architectural elements. In the center of each wall are figurative
lost work by Lievens (c. 1631-2) after dendrochronology carried
scenes emulating portable paintings. As a result of the eruption,
out in 1983 suggested a use date of “after 1660” (a date stylistically
the wall paintings suffered severe damage and alteration, notably
inconsistent with Rembrandt or Lievens). Recently, however, the
in large swaths of yellow monochrome background converted to
accuracy of this dating has been questioned; it has been suggested

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PAINTINGS + RESEARCH & TECHNICAL STUDIES
red when exposed to the heat generated by hot mud and ash from heat set and cold lining methods. The addition of natural thick-
the volcano. This color shift significantly changed the appearance ening agents such as agarose and xanthan gum decreased wicking
of the decorative scheme. into canvas and provided added strength. Through 180° T-peel
The objective of this study was to distinguish the fields of and shear testing in Northumbria University (Newcastle Upon
original red monochrome background from the fields of red, Tyne, UK) mechanical engineering department, quantitative
which had converted from yellow due to heat from the eruption. results match qualitative experience of increased lining adhesive
The methodology followed for the study consisted of preliminary bond strength and flexibility.
background research, a stylistic study of similar wall painting Further examination under magnification indicates a nap
schemes in the region, and materials analysis to identify original bond and, after reversal through force, minimal adhesive residues
and altered yellows and reds in the tablinum. remain on the original object verso. The initial results with
Based on the background research, conservators and scientists Aquazol 500 as a lining adhesive are positive and offer much hope
worked together to develop an approach to analyze the mono- for further research. Significant additional testing into effects of
chrome fields of original and altered red paint in the tablinum in aging, climate, and the addition of biological media are necessary
order to characterize their pigment compositions and differentiate before recommendation as an alternative lining adhesive.
between them. Portable X-ray fluorescence spectroscopy (XRF)
was used in situ to map the monochrome backgrounds. Laboratory
analysis, using optical and electron microscopy, x-ray diffraction, Gecko-inspired µ-Dusters for Cleaning: Ongoing
and micro-Raman spectroscopy, was conducted on representative
samples collected from areas retaining original yellow color; areas
research and potential for art conservation
thought to be originally red; and areas thought to be originally Cynthia Schwarz, Hadi Izadi, Kyle Vanderlick
yellow, now appearing red.
These analyses suggested that the paints were not made with The presentation will report on the status of the ongoing research
pure ochre pigments, but contained admixtures of secondary project on the use of µ-dusters in art conservation. Inspired by
materials in small amounts, which appeared to be different in gecko adhesion, fibrillar microstructures (µ-dusters) show great
the yellow and red fields. This paper will present the results of potential as a dry cleaning material for removing particulate
the research showing that the compositions of the original and contaminants (loosely referred to as dust) from surfaces vulnerable
altered reds were sufficiently different to be distinguished from to mechanical damage from dry cleaning, such as acrylic paintings
one another. The results of the study have contributed to a better and daguerreotypes.
understanding of the original decorative scheme of the room, and In collaboration with the Department of Chemical & Envi-
the implications for conservation and interpretation. Moreover, ronmental Engineering at Yale University, we have demonstrated
the methods developed here can be used to better understand successful dust removal from a variety of solid surfaces using
Roman painting technology and potentially identify original and polymeric µ-dusters. When they touch a contaminated surface,
converted pigments at other sites in the Vesuvian region. µ-dusters of controlled interfacial and geometrical properties
develop intimate contact with both surface contaminants and
substrates. However, development of stronger interactions with
the contaminants allow for their removal from the surface. Further,
A Preliminary Investigation into Aquazol® as an preliminary testing on poly(methyl methacrylate) (PMMA) thin
Alternative Lining Adhesive for Paintings films (as model substrates for acrylic paint) demonstrated that by
moving the adsorbed particles from the tip to the side of the fibrils
Blair Bailey, Nicola Grimaldi, Dr. Charis Theodorakopoulos, Dr.
and consequently removing them from the contact interface,
Roger Penlington, Raymond Aso, Richard Campbell, Ben Dawson,
polymeric µ-dusters are less likely to result in abrasive action on
Kallum Moses
the surface than solid flat dry cleaning materials.
Lining has existed for hundreds of years through its early uses This new generation of dry cleaning materials is attractive for
in artist studios to present iterations within conservation. Many use in art conservation for this non-destructive quality as well as
paintings suffer from sensitivities to heat or moisture - two key for the very low potential of residue deposition on the artwork’s
hazards of current lining adhesives and methodologies. This surface. While the method is primarily targeted at removing loosely
paper, as part of a collaborative pilot study, explores Aquazol bound contaminants such as dust, µ-dusters present an advantage
(poly-2-ethyl-2-oxazoline or PEOX), as a novel lining adhesive. over with traditional dusting methods, such as brushing or air flow
As a tertiary amide polymer, it features a neutral pH, solubility in in that they have been shown to remove sub-micrometric contam-
a variety of organic solvents, and no discolouration upon aging. inants that are not able to be removed by these methods. Colorim-
Key physical characteristics include high strength and flexibility in etry and gloss measurements and photomicrographs will be taken
shear tests, as well as an easily altered flow rate and glass transition of artificially soiled acrylic paint samples before and after soiling
temperature of 69-71°C. Additionally, PEOX is non-toxic. All of and cleaning. The results will be compared to existing dusting and
these characteristics suggest possible viability as an adhesive for dry cleaning methods. The micropillar cleaning material will be
lining paintings on canvas. also evaluated based on user experience. Suggested areas of further
Aquazol 500 was tested on two traditional substrates of investigation will be presented.
de-crimped linen, as well as polyester sailcloth and set using both

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PAINTINGS + RESEARCH & TECHNICAL STUDIES
Pioneering Solutions for Treating Water Stains on FTIR spectroscopy confirmed the presence of a p(EA/MMA)
Acrylic Paintings: Case study Composition, 1963 acrylic dispersion copolymer medium in both the paint and the
unpigmented size. From these investigations, six water-stained
by Justin Knowles test canvases were created, light aged for two years under museum
Olympia Diamond, Maggie Barkovic, Bronwyn Ormsby, Maureen conditionsi , and then naturally aged for one year in dark storage.
Cross These samples were used to assess the effects of twenty-two aqueous
cleaning solutions, applied both in solution and through agar
This collaborative case study outlines the criteria leading to the gel. The results were evaluated using colour measurementii and
treatment of disfiguring water stains on a large-scale, acrylic through visual observations by four paintings conservators. The
dispersion canvas painting: Composition, 1963, by the British effect of the preparation of the agar gel and the way it was applied
artist Justin Knowles. Decision making factors include how the were evaluated through a series of studies. Potential changes to the
“negative space” of the exposed acrylic-sized canvas impacted the sized canvas surface were investigated using optical microscopy,
understanding and interpretation of the work and thus influenced Hirox 3-D digital microscopyiii, highlight-based RTI, Atomic
the treatment methodology. Investigations into the artist’s practice Force Microscopy, SEM, and FTIR-ATR spectroscopy. The results
provided an important context for a conservation treatment, showed changes in surface morphology, which supported the need
which prompted an exploration into the use of agar gel as a for designing optimal methods for both the preparation and appli-
delivery system for aqueous cleaning solutions. cation of the cleaning systems.
Composition is a brightly colored hard-line geometric abstrac- The painting treatment proceeded successfully to the point
tion juxtaposed against an unpigmented acrylic dispersion-sized where the stain was substantially reduced. Retouching was the
canvas. Accidental water damage produced tidal stains across the final stage of treatment aiming to reintegrate treated areas with
canvas, rendering it unexhibitable. In 1973 Knowles lost more the original surface, focusing on matching color, texture and gloss.
than one hundred of his paintings in a studio fire, driving him A number of retouching media commonly used on acrylic paint
into a twenty-six-year hiatus from painting. Very few of these early were evaluated, and a successful method was found with Aquazol
developmental works by this prominent contributor to the British 50. As a result of this applied, collaborative research, a unique
Abstract Art movement survive, and therefore this was a signifi- and important work has been successfully returned to displayable
cant opportunity to conserve this rare painting. condition.
Determining the most appropriate conservation treatment was ___________________________________________
complicated by both a lack of research into the treatment of water [i] Conditions in the light box were at ~ 28°C and 22% RH. UV was
stained canvases, and the presence of an unpigmented acrylic filtered out from the light bulbs. Assuming reciprocity of exposure at 200 lux
dispersion-size layer. Investigation into the relationship between for 10 hours a day for 730 days (2 years) with an average lux in light box of
materials and meaning in Knowles’ work, along with the cleaning 7,980 lux resulted in 183 hours exposure in the light box.
[ii] A MinoltaÔ CM-2600d spectrophotometer using CIE Lab DE*ab
of acrylic paintings, textiles, and works on paper aided in the
colorspace was used to make colorimeter measurements. The results of the
development of a tailored cleaning solution to minimise risks to colorimeter readings were evaluated in tandem with the conservator’s subjec-
original materials whilst also facilitating the reduction of the stain. tive observations concerning change in colour and gloss for each test.
The painting materials were characterized using microscopy, [iii] Hirox 3D digital microscope images were taken at Tate, London, 2016.
IR, and UV fluorescence, FTIR spectroscopy and XRF analysis.

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1. Identification and Analysis of Hard Water schools for the beta trial.
Staining on Granite in the Western United States and The aim of our program is to optimize the maintenance and pres-
ervation of the buildings, and ultimately to promote the development
Comparative Study for Cleaning Methods
of a Conservation Program of Historical Educational Buildings. The
Alex Beard, Jason Church, Ifrah Jamil, Caitlin O’Grady, Bilal first actions were focused on the survey and registry of the buildings,
Khurshid and the assessment of the socio-educational contexts of each school. In
a second stage began the development of a digital database – available
Hard water staining on granite is a matter that affects many outdoor and online – that will allow the enquiry of the information gathered and
indoor monuments. This is exceptionally worrisome for memorialists, the proposed actions.
monument builders, cemetery staff, and families. The severe delimita- Currently, we are compiling an inventory and catalogue of goods,
tion of granite headstones in the Western United States, particularly including their conservation status, that will allow us to establish
in Colorado, Utah, New Mexico, and Nevada, is a topic of concern. priorities for future interventions. To properly preserve the educational
The stones in these geographic regions are weathered, stained, cracked, heritage, it is necessary to document, study and define intervention
and covered in mineral deposits and scaling; some granite headstones projects that include instances of survey, analysis and diagnosis of
exhibit delimitation after only four years. The scaling and delamination pathologies, in conformity with international conservation standards,
from hard water exposure has weakened the granite structurally and is and make a commitment to monitoring and fulfilling preventive main-
cosmetically; the stones have become visually detracting and unstable, tenance actions. This stage will be formulated in agreement with the
potentially posing a safety hazard for visitors. This paper aims to provide Provincial administration and implemented by the interdisciplinary
the reader with the knowledge required to make an informed decision teams of the University.
when faced with an issue of hard water staining on granite. This study Preliminary conclusions: • The community feels committed to
investigates both chemical and mechanical treatment of the stones as preserving the education heritage. • By optimizing the processing times
well as preventative maintenance practices to consider. All the treat- of the proposals and making rational use of the available resources, we
ments tested are commercially available and have been evaluated based get closer to a sustainable conservation program for the local educa-
solely on their performance results. Projects Aims: The main objective tional heritage. • Through the articulation of public-private financing,
of this project is to inform people of the issue: hard water staining the adaptation and rehabilitation of educational establishments can
on granite, particularly in the Western region of the United States. be addressed. The Ministry of Education has found the program as
We aim to discern what is causing the staining and delamination of a suitable model to be applicable in different areas of the province.
the granite through scientific testing and replication of the scaling on Cooperation agreements have been signed with the University to: •
monitored samples and controls. And, we aim to test treatment and Conduct periodic monitoring of the state of conservation of buildings.
cleaning options, both mechanical and chemical. Once the data has • Document the conservation projects. • Establish a commitment
been analyzed we want to inform the public about the most effective regarding the maintenance of the buildings – a preventive conserva-
procedure for removal. tion program – which reduces the need for interventional conservation
treatments.
2. Rescuing Schools: Conservation program of
historical educational buildings in the city of Rosario, 3. Cellulose Nanocrystals and Nanofibrils for Coating
Argentina of Paper Artifacts
Carolina Rainero MSc. Camilla Camargos, Dr. João Figueiredo Junior, Dr. Fabiano
The aim of this paper is to highlight an ongoing conservation program Pereira
developed at the Universidad Nacional de Rosario, specifically the Paper artifacts constantly demand conservation and restoration treat-
establishment of an innovative management model regarding the ments. Nanocellulose (namely cellulose nanocrystals, CNC, and
conservation of educational heritage in the city of Rosario. Background: cellulose nanofibrils, CNF) has been studied for filling paper losses on
In the Province of Santa Fe, the Ministry of Education is responsible cultural objects (Camargos 2013; Camargos 2016). CNC have great
for school buildings. While new schools have been built, there is no crystallinity, which enhance their chemical stability, and CNF have
formal conservation program for historical educational buildings. improved mechanical behavior (superior tensile strength and stress-
Unfortunately, the budget towards their maintenance is insufficient. strain performance). Previous research is patented under Brazilian
The resources are used when the only alternative is repairing these National Institute of Industrial Property (Camargos et al. 2014).
centenary buildings when they are on the verge of collapsing. Therefore, recent developments aim at improving processes of coating
The Rescuing Schools Program has proposed an innovative, paper for both protect and consolidate paper objects.
participative and decentralized management concept where the educa- Cellulose nanocrystals consist essentially of crystalline domains of
tional community is linked to the inhabitants of the neighborhoods cellulose in nanometric scale obtained by the acid hydrolysis of cellulose
where the schools are located, to the University, to the Ministry of fibers. Cellulose nanofibrils, on the other hand, are micrometer-long
Education and to the companies that are interested in contributing entangled fibrils that contain both amorphous and crystalline cellulose
to the protection of educational heritage. This model is based on a domains (Habibi et al. 2010; Abitbol et al. 2016). pH measurements
management protocol, which is at the same time the regulatory indicated that both CNC and CNF polymers have stable pH around
framework of all actions. The program under my direction is developed neutral values. Crystallinity index was estimated by X-ray diffraction
by three academic units: Architecture, Law, and Humanities and Art. and FTIR. Results showed superior crystallinity for CNC (86,0 -
The working teams include students, professors and staff of the selected 100,0%) than for CNF (66,2 - 64,4%) and Eucalyptus fibers (76,7

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- 67,0%), which revealed a higher chemical stability for CNC polymer. interface during treatment. Fluorophores being precursors of colored
Mechanical testing was provided by stress-strain measurements. CNC compounds, this result emphasizes that local cleaning should be
polymer is too brittle and Eucalyptus fiber sheet (without any additives) approached with caution. A “sandwich” configuration was also tested,
is too weak, so these materials were not tested by stress-strain test. CNF, by applying on one side of the sample the agarose gel prepared with a
otherwise, presented great tensile strength (255,3 MPa) and maximum calcium hydroxide solution to clean locally the tideline and on the other
strain (25,4%). These results indicate that a material made with CNC side gellan gum covering the whole sample surface. This configuration
and CNF can be suitable for both stability protection and mechanical showed promising results in terms of cleaning, aging and avoiding the
consolidation when used as paper coating nanomaterial. creation of a second wet/dry interface during treatment. This sandwich
Preliminary assessment of CNC and CNF coating was carried out method is nevertheless only applicable to artworks that can be wetted
combining both nanostructures in three different materials composi- on their entire surface.
tion: 25% CNC 75% CNF, 50% CNC 50% CNF, 75% CNC 25% The research will be continued starting in the fall of 2016 at the
CNF. The polymers were applied upon 20th century paper sheets Smithsonian American Art Museum, and will be dedicated to the use
(wood pulp). Best results were observed for 50% CNC 50% CNF, of rigid gels and the optimization of the aqueous systems for local
which presented high transparence, homogeneous dispersion upon treatment of stained artworks on paper with water-sensitive media.
paper surface and noticeable increment on mechanical strength. Colorimetry measurements will be used to determine the cleaning
Abitbol, T. et al., 2016. Nanocellulose, a tiny fiber with huge applica- efficacy of different gels made with buffers, chelating agents and
tions. Current Opinion in Biotechnology, 39, pp.76–88. Camargos, C., antioxidants. The long-term consequences of those chemical agents,
2016. Compósitos de Nanocristais e Nanofibrilas de Celulose: Preparação, coupled with local cleaning will be evaluated by using artificial aging. As
Caracterização e Potenciais Aplicações em Processos de Restauração de previous research has shown that local treatment can lead to unwanted
Documentos e Obras de Arte sobre Papel. UFMG. Camargos, C., 2013.
long-term effects, new solutions will be tried to avoid formation of
Obtenção e avaliação de polpa de papel de nanocelulose (whiskers) como
material para reintegração de lacunas em documentos e obras de arte em papel.
tidelines such as using an interface made of paper or applying cyclodo-
UFMG. Camargos, C. et al., 2014. Polpa de papel de nanocelulose, processo decane. The paper’s surface will be examined using optical microscopy.
para obtenção e uso na restauração de obras de arte e documentos em papel The first results of this research will be presented here.
(nanocellulose paper pulp, preparation process and use in the restoration of
paper artworks and documents), BR1020140073639. Habibi, Y., Lucia, L.
a. & Rojas, O.J., 2010. Cellulose nanocrystals: Chemistry, self-assembly, and 5. Analysis of Synthetic Dyes and the Treatment of
applications. Chemical Reviews, 110, pp.3479–3500. 1910s - 1950s Historic Chinese Wedding Documents
Paul Chun-Wo Chan, Edward Chun-Yiu Law, Angela Wai-Sum
4. Local Cleaning of Stained Artworks on Paper: The Liu
new possibilities of rigid gels New technology can unlock the secret of dyes used in historical artifact
Sophie Barbisan, Anne-Laurence Dupont, Catherine L. Maynor and facilitates the formulation of appropriate conservation strategies
for preserving cultural heritage. The application of advanced analytical
The recent introduction of rigid or semi-rigid gels (gellan gum, agarose, techniques, initially developed in the field of analytical Science,
agar, xanthan gum, etc.) to the field of paper conservation opened new provides conservators a tool to identify composition and to review
possibilities for treatments, especially for local cleaning. Such gels can information of where, when and how the artifact be formed. The result
be used with aqueous cleaning systems optimized via pH and conduc- provides insights to conservators to devise a comprehensive treatment
tivity adjustment and through the addition of buffers, chelating agents proposal. In recent decades, numerous literatures had been reported
or antioxidants. To the best of our knowledge, parameters including in the identification of dyes used in historical paintings or textiles
chemical additives as well as the long-term consequences of such with various analytical techniques. Yet, the analogous studies of dyes
treatments remain open questions. Those questions are particularly on Chinese documents are less explored. With continuous interest to
important regarding local cleaning of stained artworks, due to the investigate the dye used in Pearl River Delta region in China, herein
tendency of rigid gels to create a new wet/dry interface (or tideline) we describe an investigation of synthetic red dyes used in a set of
during treatment. Chinese wedding documents predates from 1910s to 1950s which
A first investigation was started in 2015, in collaboration with are the collection of Hong Kong Museum of History. Marriage is of
the CRC (Centre de Recherche sur la Conservation des Collections, fundamental significance in the rituals of traditional Chinese culture,
Paris) during a master’s thesis research. The study was devoted to the which are generally known as the “Three Covenants and Six Rites.”
specific use of agarose gel with adjusted pH and conductivity for local “Three covenants” are the wedding documents exchanged between
treatment of tidelines on paper. Tidelines were created on samples the two families to confirm the engagement of marriage, which are
of artificially aged Arches® paper. Different combinations of pH and important records for the Chinese heritage and thus of great historical
conductivity were tested to evaluate which are best for cleaning. It significance. Most of the documents have suffered from various degrees
appears that alkaline pH and high conductivity were efficient for the of paper damages such as tears, lose, distortion and running of the
cleaning of tidelines on the samples. Nevertheless, comparison with colour. Hence, an effective and safe conservation treatment is of stark
other solutions used to prepare the gels showed that calcium hydroxide importance. Red is an auspicious color which usually corresponds to
solution is best for the cleaning of tidelines. The long-term effect of good fortune and happiness, hence the traditional wedding documents
local treatments was also investigated using hygrothermal ageing of are all made in red. Natural red dyes such as Ocher (mineral dyestuffs),
the cleaned samples. Despite the use of cyclomethicone solvents and Alizarin (plant dyestuffs) and Carminic acid (animal dyestuffs) were
pre-humidification to limit the diffusion of water, UV fluorescence originally used in ancient time. They were the only source of red until
was observed. This resulted from the creation of a second wet/dry synthetic dyes were introduced to China in the late 19th century. Since

Poster Session
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then, natural dye had been entirely replaced by synthetic dyes due to 7. A Novel Conservation Treatment Developed for the
the wider color ranges, composition uniformity, low costs and stability Restoration of The Psalms of David Relievo Papier-
towards fading. However, most of them are water-sensitive required
mâché Binding Designed by Owen Jones
special attention. To shed light on their histories and associated
chemistry of the dyes, samples from the wedding documents taken at Malina Belcheva
ten-year intervals were subject to study by various analytical methods
including UV-Vis spectroscopy, TLC and Ultra-performance liquid On January 8, 1903, Ryerson and Burnham Libraries received a gift
chromatography with both diode array UV-Vis detector and time-of- from Mr. J. E. Woodhead, one of his most valuable books, the first
flight mass spectrometer (Reverse phase UPLC-DAD-ESI-Q-TOF- edition of The Psalms of David (The Victoria Psalter). Designed by
MS). In the preliminary investigation, four synthetic dyes (Rodamine Owen Jones, this oversize relievo papier-mâché binding was dedicated
B, Rodamine 575, 2-Napthol orange and Aniline yellow) have been to Queen Victoria: “To Her Most Gracious Majesty Queen Victoria
identified, indicating that they were already commonly applied during this illuminated Psalter is with permission dedicated.” Owen Jones
that period of time. Given the identified dyes are all relatively water created both the interior ornamentation of the chromolithographed
soluble, conservators should consider alternatives to traditional wet plates and the exterior aspect of the book. The binding was carried
treatment method, such as a dry lining Chinese mounting method for out by Leighton, Son & Hodge and printed at Remnant & Edmonds,
this type of wedding documents. This paper will extensively discuss on London in 1861, where the covers were moulded in relief and embossed
the new findings and this special technique in the course of treatment. on calf leather by Frederick Leake’s patented process.
On request of Mr. Woodhead in the 1800s, the book was refor-
matted to an album structure binding. New cloth hinges and paper
6. The 3M Approach to Preventing Mould Growth in stubs to the plates were added. The binding was “rebound in old
the National Collection at the Heritage Conservation covers,” read the unknown binder’s note uncovered under the front
pastedown leaf during the book conservation. New endsheets and
Centre (HCC), Singapore gilt to the textblock edges were added. Over the years this beautifully
Jingyi Zhang designed book had been constantly on display exhibited standing on a
pedestal as intended by Owen Jones. The heavy binding structure and
The 3M approach consisting of Monitoring, Maintenance and oversewing of the textblock caused significant damage to the spine and
Management has been adopted by the Mould Management team in plates of the binding.
HCC to mitigate the risks of mould growth in the National Collection. The book had been set apart from the libraries’ collections for
The key highlights in each aspect would be presented to elucidate how years awaiting conservation, and was received in the book conservation
the 3M approach has been instrumental in reducing mould incidents laboratory of the Art Institute of Chicago in poor, unstable condition,
in the centre’s repositories. after multiple falling apart repairs: with missing leather spine, plates
The Monitoring aspect is one that includes the annual quantifica- detached, in losses and deterioration, the endsheet marbled papers were
tion of mould levels in the air and surface levels at different locations in brittle, textblock sewing and stubs collapsed, covers were detached,
the stores using a Merck Mas-100 ECO air sampler and sterile swabs in with abraded edges and corners missing. From this condition of
a specified surface area. Cut off values for both methods of quantifica- the binding, the restoration process was begun. This poster for the
tion were also established to serve as a warrant for more detailed checks conservation treatment of The Psalm of David will include: Historical
when the levels are over the limits. Another critical element under the background, bibliographic information, provenance, and acquisition
Monitoring aspect would be analyzing the quantified mould levels information about the book. Binding description before conservation
with previous occurrences alongside the type of material and method and detailed description of the reconstruction of the binding from
of storage to rank the stores according to priority for store checks and compositional information of the original binding materials, through
emergency planning purposes. making of a model for the new binding structure, to the finishing
Working with both Estates management and the Environmental processes of the latest book conservation. In conclusion, I will include
monitoring team on ensuring the relative humidity and temperature in information on the exhibition of the binding at the Art Institute of
each store is being maintained at the correct set points, is one important Chicago, and will discuss future directions and perspectives for The
component in the Maintenance aspect of the 3M approach. Working Psalms of David. Additional information on the conservation process
on housekeeping projects and reducing dirt and dust at point of entries of the binding is on the Art Institute of Chicago website - http://www.
are also ways to ensure that the environment is being maintained at an artic.edu/aic/resources/resource/2346?search_id=1&index=0
acceptable level of cleanliness. Having a set of operational response in
the face of a mould outbreak and the know how to carry out collec-
tion recovery are also ways to manage mould related incidents, prevent 8. Conservation and Restoration of the Document
further spread and future occurrences. Training for staff and the called ‘Carta sincronológica de Historia Universal’
constant refinement and improvisation to the operating procedures are
also important areas that are emphasized in the Management aspect.
(Chronological Chart of Universal History) translated
by Francisco J. Zavala, 1884
María Victoria Casado Aguilar, María del Pilar Tapia López
The objective of this paper was the preservation of a document with
a measure of 7.5 meters (295.2”) wide by 0.7 meters (27.5”) long. It
belongs to the Benemérita y Centenaria Escuela Normal del Estado de
San Luis Potosí, (Meritorious and Centennial Normal School of San

2017 AIC Annual Meeting Abstracts

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Luis Potosi, México), and has as title “Carta sincronológica de Historia and mended with Japanese tissue and wheat starch paste. The metal
Universal.” It is a long strip conformed by 14 individual panels straight pins were removed and clippings were hinged in place so that
attached together and printed with a chromolithographic technique the underlying text can be revealed without damage to the clippings.
in four inks (black, red, blue and yellow). The document with the The many oversized clippings were clearly marked with their original
assistance of illustrations and texts, represents the history of humanity placement and stored in separate folders, as were any that were printed
through multiple timelines, starting from the biblical creation of Adam on acidic paper. Bindings were repaired or replaced where missing. Each
and Eve (year 4000 a., according to the chart) to the year of 1884. This volume was evaluated individually to decide when to leave clippings in
chart is a Spanish edition, printed in Guadalajara, Mexico, translated place and when to remove them entirely. One volume was a repur-
by Francisco J. Zavala, from the famous work in English of Sebastian posed account book. The manuscript text was obscured by clippings
C. Adams, the “Chronological Chart of Ancient, Modern and Biblical of recipes and information about gardening. These clippings were left
History,” 1871. The graphic document was in a roll format and with in place, given the relevance to the subject of the collection and the
has an auxiliary support made with fabric in the back. scant amount of writing underneath. A second repurposed volume is
Apart from the damages caused by dust, moisture stains and a journal with by entries by one of the women of the family, about
microorganisms, the paper had serious structural problems that made twenty pages at the end of the volume. The clippings covering this text
it impossible to manipulate or consult it without causing more physical came off to reveal academic notes on astronomy, including diagrams
damage to the support. The paper was separating in layers, generating of stars and planets. We still wanted to be able to recreate the journal
losses in the form of flakes from the top layer of paper, which contains as it was used as a recipe book. The removed clippings were placed in
the printed information of the work. The conservation proposal was Mylar sleeves and can be laid on top of the page they came from, thus
somewhat controversial, despite the fact that it was an essential part of recreating how the page looked as it was used as a recipe book. The
the work; maintaining the original format of the roll was detrimental to earliest two volumes, which are of greatest research interest and were
the preservation of the support, as the weakening and flakes losses was in the worst state, were digitally scanned after mending and before
caused by the action of winding and unwinding of the roll. Preserve rebinding. These are now digitally accessible, and all twenty volumes
the roll format after a support’s consolidation limits and restricts the are now available to researchers. Historic Cherry Hill has published
use and study of the document. Considering that the work belongs some of the recipes from this collection.
to the library of a school in Mexico, its main value is to transmit the
information contained within, and the possibility of generating more
data from future study. After several discussions, it was decided to alter 10. Towards Nondestructive Characterization of Black
the original roll format to maintain plain the support paper, so the Drawing Media
auxiliary fabric was removed and changed for a Japanese paper lining,
and a structure of a folding screen was implemented, with separators Nathan Daly, Lynn Lee, Michelle Sullivan, Karen Trentelman
added between the panels to make the folds in these separators without Historically, works of art on paper have proven challenging objects for
affecting the paper. This new format maintains the support paper scientific analyses. Due to the lower concentration of materials used
plain, facilitates the consultation of individual panels, like the leaves of in these works, sampling is not possible as removal of a sufficiently
a book, while it enables one to extend the document completely, which large sample would be visibly and irreversibly damaging to the work,
maintains the notion of a work of great format. necessitating in situ analysis methods. As a result, conservators and
curators have come to rely upon close observation—at both the macro
and micro level—as their primary means of differentiating drawing
9. Election Cake and Tea Cookies: The Conservation media. However, because this is a subjective approach and highly
of Historic Cherry Hill’s Receipt Book Collection dependent on the experience of the observer, this is a challenging, if
not impossible, task. Many drawing materials—particularly carbon-
Samantha Couture
based drawing materials—are extremely similar in appearance. Visual
Historic Cherry Hill is a non-profit museum in Albany, New York. distinction and identification is further complicated by the varied
It consists of the residence and many of the belongings of the Van methods of application and manipulation artists employ.
Rensselaer family. The recipe books were kept by five generations of In 2016, the J. Paul Getty Museum presented the exhibition “Noir:
the women of the household and is made up of twenty manuscript The Romance of Black in 19th-century French Drawings and Prints”
volumes and collected manuscripts and printed newspaper clippings. which featured drawings by Georges Seurat and Odilon Redon, among
They contain recipes for food, medicines, and household products from others. The works of these artists, deceptively simple in appearance,
the late 18th to the early 20th centuries. These volumes are of particular represent complex mixtures of black media including charcoals of
interest to food historians. Access to these items was severely limited varying hardness, assorted crayons, natural and fabricated chalks, ink,
because of their condition. The institution sought and received grant and pastel. In conjunction with this exhibition, curators, conservators,
funding for conservation treatment. Much of the information in the and scientists at the J. Paul Getty Museum and Getty Conservation
books was obscured by excessive tearing, sewing that prevented pages to Institute initiated a collaborative study to address the problem of
be fully opened, and clippings that had been pinned to the pages. The accurate characterization of black drawing media. Specific research
museum’s curator felt it intrinsic to the research value of the collection questions included: Is it possible to distinguish different types of black
that the books remain as close to their original state as possible. drawing media—such as chalk, crayon, and pastels—based on binder or
My challenge in conserving these volumes was to give researchers clay content? Did the artists use fixative? If so, what is the composition
access to all manuscript text while maintaining as much of the original and how was it applied? Have the media or fixative altered with age?
structure and placement as possible. Treatment decisions were made in To develop an effective, noninvasive, analytical framework for
close collaboration with the curator. Torn pages were pieced together the study of drawings from the Museum’s collections, studies were

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conducted on mock-ups prepared with historic and modern artist’s arises and we were able to utilize the materials and resources required to
materials to characterize the materials present and understand the address the problem. To begin work we needed: 1. Large zip lock bags
complex media-substrate interaction. A suite of noninvasive tech- to place every item in; 2. Crates; 3. Gloves/masks; 4. Van to transport
niques were utilized in this study. Micro-Raman spectroscopy was books/papers to freezer. Due to the number of items infested we recom-
used to identify carbonaceous materials such as charcoal by examining mended freezing, both to kill the insects and give us time to get staff
two characteristic spectral features, the D band and G band. The ratio and materials in order to begin the cleaning. We were used to dealing
between the intensity of each band can be used to estimate the degree with insects and their effects in small numbers, but we had never seen
of crystallinity of the carbon species, which can then be matched to infestation to this extent concentrated into one area. The project was a
reference materials for proper identification.[1] Fourier Transform challenge both logistically and practically but it was comforting to note
Infrared (FT-IR) spectroscopy was used to aid in characterization of there was no lasting damage to the items and no resurgence was noted.
organic binding media and fixatives, and to support the black media
assignment made using Micro-Raman spectroscopy. X-ray fluorescence
(XRF) was used to identify inorganic elements such as aluminum 12. A Study on the Design to Store Asian Painting
in chalks. In situ x-ray diffraction (XRD) was used to characterize Scrolls
minerals in clays. Collectively, these analytical techniques successfully
characterized the materials used by the 19th century French artists, Junyin Hsiao
providing insight into the development of modern drawing. Addition- The hanging scroll is a unique form of East Asian painting. The elegant
ally, this work provides a framework to address the need for noninva- art is composed of not only the great painting but also the mounting
sive analytical methods to study low concentration materials in situ. structure comprised of laminations of textile and paper. Meanwhile
1. Coccato, A., J. Jehlicka, L. Moens, and P. Vandenabeele, Raman the scroll keeps the entire structure at minimum volume for easily
spectroscopy for the investigation of carbon‐based black pigments. Journal of transport and storage. Traditionally these hanging scrolls are rolled
Raman Spectroscopy, 2015. 46(10): p. 1003-1015.
on the roller rod while in storage, which will lead to cockling after
extensive time in storage.
11. Moth Larvae Infestation of Books and Materials For several years, East Asian painting conservators have tried to
solve the problem of cockling by increasing the diameter of the scroll
from Syracuse University Libraries when rolled. In order to increase the diameter, several materials and
Marianne S. Hanley forms currently are used to reduce the cockling. The following are the
different types of rollers to preserve East Asian paintings: Polyester
During a recent incident at Syracuse University, a professor on campus Roller, Zotefoam Roller, Acrylic Tube Roller and Paulownia Roller
discovered moth larvae on a “few library books” in her office, one Clamp. There are advantages and disadvantages among all these four
of the oldest building on campus. They immediately contacted me, types of rollers. The Polyester Roller is easy to manufacture, but too
the Preservation Librarian. In my initial assessment, I discovered weak structurally to protect the artefact even with added support and
approximately 1000 books, binders, and file folders in the professor’s cushion inside. Therefore, using the Polyester Roller can cause damage
office, 441 of which were books from the SU Libraries; the remainder and deformity while handling. The Zotefoam Roller provides better
belonged to the professor personally. More than half of the books were structural integrity, but still cannot be manufactured (by hand or by
infested with maggot larvae. The worms attached themselves to the machine) in a way that fully encloses the rod of the scroll. The Acrylic
books, papers, furniture and walls throughout the professor’s office. Tube Roller cannot be made by hand, so a machine must cut through
We began the task of bagging every book in the office, regardless of a hard, cylindrical piece of plastic making manufacturing unpredictable
whether they belonged to the Libraries or were the professor’s personal and difficult. Even worse, because acrylic is not very pliable, after it is
books. It took the two librarians all day to complete; 19 crates of books cut, the tube naturally retains its cylindrical shape (as in it wants to fold
and several boxes of papers were transported to freezer units in the close) thereby making safely inserting the painting scroll into this device
dormitories. I secured space in a large freezer found in one of the dormi- difficult. Paulownia wood Futomaki seems to have the best design to
tories usually used to freeze mattresses that are infested with bed bugs. use and manufacture, but provides the worst archival quality among all
Two additional freezers had to be moved from the Libraries Special these options because of the natural acidity of the wood itself.
Collections to handle the overflow. The books were frozen at -10F for 3 This poster serves to provide a solution to uncover the best design
weeks. At that point, with no living organisms found during a random and materials used to protect East Asian paintings through conservation
inspection of several books, librarians and staff cleaned the books with science in the hope that after significant amount of time in storage, the
Absorbent Dry Cleaning Sponges and Natural China Chip Brushes. scrolls won’t experience the problem of cockling. Several parameters
In our initial assessment, we counted the affected volumes and made need to be considered. First, a perfect roundness on section of the roller
on-site risk assessment; it was difficult to count the affected volumes plays an important role, otherwise the painting will become wavy after
because it was difficult to see how many volumes were infested until a long time. In addition, enough structural support from the roller
each was pulled from the shelf and assessed. The largest concentration structure is necessary to protect the painting from any dents while a
of insects was found in the bindings; they seemed to be attracted to the person handles the scroll. Lastly, even the gap created at the entry point
glue. We used flashlights to assess if there were any infestations attached of the roller should be seriously considered and attended to because a
to spine cloth. If anything was detected we removed the covers, cleaned gap that is positioned facing up may cause the part of the painting (that
the spine, and reattached new spine lining. Old spine stiffeners and is even slightly exposed) to distort due to gravity. Through accelerated
book cloth were removed and replaced. Planning, communication and aging, we can choose the best shape to best fit the East Asian painting.
organization were a key to success. Luckily, we have a disaster supply Passing the Photo Activity Test will tell us if the material of the roller
plan and a large supply of conservation disaster materials if the need meets the criteria for archival quality.

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13. Innovational Drying Wall for Asian Paintings choices would have created an extremely stark and aesthetically jarring
binding. Cast composite leather, a technique developed by Grace
Yi-Hsia Hsiao Owen and Sarah Reidell at the New York Public Library Goldsmith
East Asian scrolls are well known for their rolling and unrolling system. Conservation Lab, was used to recreate the missing leather compo-
Above all, flatness, softness, thinness, and smoothness are the four nents of the binding by applying it to a cotton cloth and kozo fiber
characteristics of a good Chinese painting scroll. Drying process for paper laminate. Experiments were performed to determine which
Chinese paintings is one of the important treating steps among all. laminate structures would yield the most flexible rebacking material
Speaking of drying board, one would think about a Japanese Karibari for this book. The cast composite leather film was also used as a fill
which is an orange board with multi layers of paper on top of undercore material to compensate for the heavily skinned and abraded areas of
of wooden lactic and coated with persimmon juice. This orange board, the original leather remnants. Digital printing has been discussed
however, is distracting to some degree compared to otherwise a white recently in the field as a method for loss compensation for printed or
board, when a conservator retouching on compensation for losses on a decorative works of art on paper. In this treatment, a scan was taken
thin Chinese xuan paper, due to the transparency of thin xuan paper. of the original board and a digital print was created on a pigment
This topic first introduces traditional Chinese methods and techniques printer to be used as the covering material for the newly constructed
of making drying boards and drying wall. The undercores of wooden back board. The print was further inpainted and toned with acrylic
lattices, multi layers of paper and application methods are introduced. paints and coated with SC6000 to better integrate it both visually and
Then, the innovation of drying boards is secondly introduced. Gator physically with the original binding elements. In the end, these new
boards are the replacement of wooden lattices due to their light weight. techniques produced a robust, aesthetically harmonious binding that
This new innovation is nowadays widely used in East Asian paintings will produce a pleasing experience for our patrons during use.
conservation studios within the US. Finally, techniques of making
a drying wall are introduced because it is essential for an oversized
Chinese painting, which usually poses a big challenge for conservators.
15. An Unconventional Approach to Cover-Binding
A comparison for pros and cons among the innovational and traditional Reattachment
drying board/wall is discussed. The waterproof coatings on the board Kimberly Kwan
surface are compared in the end. Chinese drying boards and walls are
coated with animal glue solution. Japanese drying boards are coated Materials and techniques for sewing and forwarding, such as the choice
with persimmon juice. The innovational coating that is used in most of sewing support material, lacing in methods, and corner mitring
East Asian painting conservation studio in US is Rhoplex™ emulsion. styles, can provide information reflecting period bindery practices or
Different kinds of Rhoplex™ are experimented to test for its durability, reveal new information on provenance. Often, these components of
waterproofness, and stickiness. The Asian conservation studio in the binding structure are hidden underneath the covering material
Cleveland Museum of Art has Japanese Karibari with persimmon juice and can be difficult for researchers to see. This poster will describe
coating, innovational drying boards with gator boards as undercore the considerations behind a cover reattachment method used during
and Rhoplex™ coating and traditional drying wall with animal glue treatment of MS. 74 (1658-1659), an English manuscript belonging to
coating. Those have their advantages and disadvantages. the Medieval and Early Modern Manuscripts Collection at the Harry
Ransom Center, University of Texas at Austin. MS. 74 was bound in
full tanned sheepskin over pasteboards, and the covering leather was
14. 21st Century Loss Compensation for a 19th almost completely loose from the binding. During treatment of the
Century Binding manuscript, the covering leather had to be fully detached. In a typical
conservation treatment, the leather covering material is re-adhered
Kathy Lechuga overall to the paperboards and back of the book. In this case, the cover
Loss compensation and integration of new binding elements is a leather was secured in a manner whereby the structure could remain
constant challenge faced by book conservators. Digital print fills for visible. The cover leather was secured to the binding mechanically so
paper conservation can be used for loss compensation in patterned that it could be detached and taken off the binding. A method was
papers and cast composite leathers have gained popularity as a material devised to strap the covering leather onto the book with interlocking
that can be used to better integrate traditional book repairs with original tabs. Strategic placement of the tabs was crucial so that the reattached
binding elements. The treatment presented in this poster combines cover would move with the book properly during use. Especially
both methods to recreate missing components of a 19th century important, the hinge of the covering leather had to be secured to the
binding to produce an aesthetically integrated structure that facilitates book to prevent improper creasing and breakage to the leather. Experi-
use by our patrons. Public and Private Economy, published in 1836, ments with a combination of materials including Japanese tissue paper,
arrived in the lab with only its front board precariously attached with parchment, and Tyvek® were tested on models.
pressure sensitive tape to the spine of its text block. All other original A criteria for the ideal tab material was drawn up:
binding elements were missing. Much of the carrier layer of the tape 1. The material had to be weaker than the leather to prevent
had previously detached, removing a significant portion of the grain strain and damage.
layer of the original leather resulting in a large loss almost the height of 2. The material had to be flexible enough to wrap around the
the board. The original front board was structurally sound and covered boards.
with a uniquely patterned decorative paper that was heavily abraded. 3. The material had to be strong enough for the tabs to withstand
It was obvious a new binding needed to be constructed around being opened and closed periodically.
the remaining front board and conventional loss compensation 4. The material had to be relatively rigid at the interlocking
component to withstand tension and lock properly.

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5. The material had to be thin enough not to indent the 18. Development of a User-Driven Adhesives
textblock paper, which was very soft. Database
Treatment of MS. 74 was a collaborative effort. Graham Patten
carried out mends to the textblock and leather cover, resewing of the Shaina Palmer, Andrea Hall, Molly K. McGath, Sara Zaccaron,
textblock, and board infills during his internship at the Ransom Center. Robert Leheny, Patricia McGuiggan
Book lab staff, interns, and volunteers worked on consolidation of the
The quantity of adhesives that are currently used within conservation
iron gall ink throughout the textblock. As several other books awaiting
is both a blessing and curse to conservators. The immense number of
treatment at the Ransom Center also have detached covering material,
adhesives available provide the potential for tailoring adhesives to a
treatment of MS. 74 became an opportunity to examine methods for a
particular application, however this same variety can present a para-
safe way to reattach a cover to the binding while allowing access to the
lyzing wealth of choice to conservators. We are developing a user-driven
interior binding structure.
database to share the properties of adhesives used in conservation. This
will assist conservators in making choices about new adhesives. The
16. Measuring the Stiffness of Brittle Paper study of the rheological properties of conservation adhesives, in concert
with AFM, light microscopy and mechanical testing forms the basis of
Andrea Hall, Thomas O’Connor, Molly K. McGath, Patricia our research. This research builds on past research that has been done
McGuiggan by conservators and scientists, bringing industry scientists to the table.
It has been estimated that one third of the paper materials in libraries
are too brittle to handle. The structure of a typical paper sheet is 19. Polishing Methods and Their Impact on Results
comprised of semi-rigid cellulose fibers. These cellulose fibers are more
in the Oddy Test
than ten times longer than the sheet thickness and can be considered a
two dimensional random fiber network. The main pathways of paper Chloe Cao, Andrea Hall, Molly K. McGath, Patricia McGuiggan
degradation, acid-catalyzed hydrolysis and oxidation, cause depoly-
merization of the cellulose chains and breaking of the intrafiber bonds, The Oddy test, with its many variations, has been used to determine
directly impacting the paper’s physical properties. Conventional the suitability of materials for use with museum, archive and library
mechanical measurements of aged paper are destructive and often too objects. One major variation of the Oddy test has been in the prepa-
severe to understand the true extent of deterioration. We have compared ration of the metals used for this testing. These variations include
the reproducibility and results of the rolling test, fold endurance test, different sources and types of metals: using metal foils from chemical
tensile tests and have developed a new test, the JHU bend test. The manufacturers to metal coupons from jewelers, as well as different
goal of these tests is to measure the strengths of naturally aged papers polishing methods of the coupons prior to exposure to tested materials.
with varying amounts of brittleness. Through this comparison and the This research examines differences in polishing of these metals, and
use of mathematical modeling developed by the JHU Department of how those difference impact the results of the Oddy test. This is done
Physics and Astronomy we show the limits of each test and relate the by examining different polishing methods and their effects on the
state of paper degradation to test results. coupons by light microscopy and atomic force microscopy both before
and after testing.

17. Acid Transport through Mylar Encapsulation

20. Cellulose Acetate Lamination: Composition and
Andrea Hall, Molly K. McGath, Bill Minter, Patricia McGuiggan Condition
Ultrasonically-welded encapsulation of documents with biaxially- Molly K. McGath, Emily Rezes, Vicki Lee, Andrea Hall, Patricia
oriented polyethylene terephthalate, commonly called by the commer- McGuiggan
cial names of Mylar®or Melinex®, is a frequently employed treatment
in library and archive collections. Encapsulation is used to reinforce a Cellulose acetate lamination of paper documents was a common pres-
document physically and is used as a long-term storage solution. The ervation/conservation treatment in the 20th century. This treatment
transport of acids through this barrier is of interest, especially in light fell out of favor due to concerns over the stability of the cellulose acetate
of using this treatment for long-term storage of an acid containing films used for lamination, the compositions of which changed over
document, i.e. newspaper, wood-pulp paper document, among others. time. However, many collections contain large numbers of cellulose
The transport of acid through the encapsulation barrier impacts acetate laminated documents. This research evaluates how the chemical
surrounding media, while trapping this acid within the encapsulation composition of these films today has impacted the overall condition of
can accelerate deterioration. Prediction of the rate of acid transport the laminated documents, using a combination of techniques. Analyses
will allow conservators to make informed choices about housing and with pyrolysis-gas chromatography/mass spectrometry, infrared spec-
long-term storage conditions. This research studies the kinetics of acid troscopy, nuclear magnetic resonance spectrometry, surface pH testing
transport through the encapsulation, providing a rate and direction of and microscopy have been done to evaluate the composition of the
transport of acids through the encapsulation. lamination films today. The results show trends in how composition of
the films changed over time and how this composition has impacted
the survival of these laminates.

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21. Memory of the World: Opportunities for 23. Ancient Repairs in Limp, Laced-Case Sixteenth-
preservation and promotion of documentary heritage Century Bindings: Record, analysis and interpretation
Ingrid Frederick Pilar Tapia López, María Fernanda Martínez Rocha
The objective of this poster is to discuss how collections of world This work was Fernanda Martínez’ thesis to become a restorer,
significance could potentially benefit in preservation and promotion under the supervision of Dr. Martha Elena Romero Ramírez. It is an
purposes, from assessment as world heritage site and possible inclusion archaeological study of ancient repairs in limp, laced- case binding in
on the UNESCO Memory of the World Register. Established in 1992 parchment on 16th-century European printed books, belonging to
as a Program within the Communication and Information Sector in the National Library of Mexico, and which came from New Spain’s
UNESCO, the Memory of the World’s main aim has been to protect conventual libraries. Repairs usually go unnoticed, and because of
the world’s documentary heritage. that, become vulnerable to getting dismissed during conservation and
Preservation of documentary heritage goes in hand with permanent restoration treatments, due to a lack of appreciation.
accessibility of movable heritage such as manuscripts, oral tradition The main objective of this study was to make a detailed record
recordings, maps, and other audiovisual recordings. After almost 25 and an analysis of the repairs with the purpose of contributing to their
years, 107 countries have included examples of their documentary appreciation as historic evidence of the book’s use, trade and market
heritage included in the Memory of the World Register. These include in a specific society and period of time, and therefore as important
single items as well as collections, which have been assessed for their elements of the bindings that need to be conserved. Another objective
world significance against different comparative criteria. was to provide the conservator with more information to make better
and more appropriate decisions for the conservation and restoration
processes in bibliographical materials, avoiding the loss of valuable
22. Captain America Encounters Klucel M® information and features that contribute to material, historic and
documentary values of this type of heritage.
Michiko Adachi, Catherine Magee
The sample included 222 books, of which 172 had some kind of
The first six issues of the Captain America comic books (1941) from repair, material replacement or modification in one or several structural
the Serials Division at the Library of Congress required treatment components. Said components were: textblock, endleaves, spine and
to permit use by researchers. The issues had been side-stapled with linings, sewing, endbands, cover and fastening. The record was made
heavy staples to form a textblock, then glued into a case binding. The using as a basis the record form elaborated and used by Dr. Martha
extreme brittleness of the paper and the tightly bound format caused Elena Romero Ramírez in her doctoral thesis for the study of limp,
the paper to break during even careful handling. Library of Congress laced case binding in parchment on sixteenth-century Mexican printed
conservators, in collaboration with the Serials curator, determined that books. This allowed the author to continue the same investigation line
a combination of stabilization and rebinding was necessary to achieve by generating information that complements a previous work. Through
the desired access to the comic books. However, the brittleness of the this study, it was possible to obtain information about the different
newsprint and the solubility of the printing inks presented challenges techniques used to repair the books, by the people or the workshops
in selecting a mending material. The treatment required investigation that made the repairs to the conventual libraries. This was achieved
of a range of potential adhesives to be used in a solvent-set tissue for by identifying patterns of work and materials in books belonging to
mending. This poster chronicles the development of a pre-coated the same convents and/or religious orders. Knowing and valuing the
repair tissue for the treatment. Since solubility testing indicated that different characteristics of the collections, and how to approach them
both paper and media were sensitive to water and to ethanol, graduate constitutes a way of preventive conservation, by avoiding material
interns Catherine Magee and Michiko Adachi experimented with information loss due to lack of knowledge.
different adhesive and solvent combinations on an expendable, vintage
comic book to determine the appropriate mending materials. They
first identified a suitable paper base. Out of six different adhesives 24. History, Treatment, and Preparation for
tested as solvent-set mending strips on the expendable comic book, Digitization of 14th-century Estate Rolls
Klucel M® was selected for the adhesive coating due to its strength
and transparency. Experimental comparison also identified a solvent Annabel Pinkney
for re-activation of the adhesive. Color formulae for toning the tissue, Composed of over 85 percent collagen, parchment substantially
for better visual integration with the design media of the comic books, differs from paper and must be treated accordingly by a conservator.
were developed. The resulting toned, pre-coated repair tissue was In ancient and medieval times information was commonly written
used successfully to stabilize the pages of Captain America. Following upon parchment membranes which were sewn end to end, then rolled
stabilization, the pages were individually encapsulated in polyester into extensive documents referred to as estate rolls. These long sheets
film sleeves, and then bound as single issues into specially designed, of parchment have proven to be inconveniently bulky research use
stab-sewn, scrapbook-style bindings. The conservators hope to use this and preservation strategies. Parchment rolls have often been disas-
treatment protocol for future treatments of comic books and other sembled, and then conserved by treating and storing flat as separated
newsprint ephemera at the Library of Congress. membranes. This method eradicates the original format of the artifact
and destroys its historical context. The purpose of this research is to
develop a reliable methodology to effectively treat the vast surface area
of medieval rolls, provide the rolls with the strength and flexibility to
be physically handled in future research endeavors, and to maintain

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the documents’ rolled format, thus preserving their historical integrity. Ten Academic Alliance (fifteen large academic libraries). Each title
Two rolls from France, dating from 1370 and 1371, each measuring shares identical OCLC cataloging records and should therefore be
over forty feet long, were studied in the process of developing this identical or near-identical publications. Data being collected include
method. The treatment process was separated into three stages: bibliographic accuracy, printing and binding variances, completeness,
cleaning, humidification, and repairing. Through an intense study of physical damage, chemical deterioration, and provenance. Results are
the material properties of parchment, each of these stages consisted of also being compared to existing digital content in the HathiTrust, a
unique treatment techniques which catered to the size and composition trusted digital repository. Early data show wide variability both in the
of the rolls. Among the most noteworthy developments in this process accuracy of cataloging records, as well as in historical use, condition
was a handling system to administer treatments on large sections of and ability for materials to be successfully digitized in the future. While
roll at a time, eliminating the need to separate the membranes. The condition and unique features are sure to vary, the similarities of the
conservation was concluded by designing a storage system for the rolls. fifteen institutions would have a higher likelihood for similar storage
The resulting storage design is space efficient, user friendly, and conve- and preservation than in many other more diverse libraries, so any
nient for display. The applied treatments effectively resulted in each variations found in this study are likely to be present, if not increased,
roll attaining an ideal state, true to their originally intended form. In among the broader academic library community.
order to protect the integrity of any artifact it is important to respect
its original composition and configuration. The ability to conserve
a medieval parchment roll of any size without disassembly has been 26. Innovación en Conservación y Cuidado de las
established by this work. Colecciones en soporte papel
Alicia Tonello
25. Thoughtful Withdrawal of Monographs from The Innovation in Conservation and Care Paper Collections Conserva-
Academic Libraries: Knowing the risks to our cultural tion of library and archival collections of archives is a subject that has
print heritage been installed for years in the policies of public and private institutions.
What do professionals have to do? What procedures must they use and
Jennifer Hain Teper follow? Which new acquisitions, materials and purchases, such as new
Academic libraries are faced with pressing space issues and insufficient equipment and chemicals safe for both humans and the environment
funding. In light of these pressures, libraries are more aggressively safety as well as able to prevent the archives’ and books’ deterioration.
withdrawing materials to relieve cramped shelves and reduce overall These new acquisitions must help us to prevent the risk of deteriora-
collection footprints. Selection for withdrawal is based off many tion of paper supports or at least to stop their degradation; to extend as
factors, but of particular concern is the withdrawal of materials relative much as possible in time “the loss of value” of the document collections.
to titles being held in shared print repositories. Recent publications Our experience is from several years of hard, daily work in a National
point to the need for thoughtful and strategic evaluation of shared Archive, where the archival material begins in the colonial time and
print for quality and completeness as well as evaluation of copies reaches into the late last century. It shows us that we will not have
considered for withdrawal if we are to ensure the perseverance of an the opportunity to stop the damage if we do not carry out simple but
accurate representation of our print heritage in an increasingly digital systematic procedures and routines such as deep cleaning the buildings,
library environment. This paper will discuss two related studies that storage, and packages as in the records themselves. Dirty, dust, greasy,
enlighten us on the current practices for selection for withdrawal in air pollution are “the mother of all the damages” and without forgetting
academic libraries, as well as the risks libraries may be taking in basing the control of the deterioration agents and the good practices in the
print retention decisions on shared catalog records alone. In spring of handling during the archival work as well during the public archival
2015 the author, as a member of a small group of interested preser- access. The real innovation in the care of archival collections is to
vation librarians and conservators, created and distributed an online improve forms of access to the original documents through good quality
survey to academic libraries across the United States. The focus of this facsimiles. This allows us to provide users the feeling they are in contact
survey was to document what information and procedures their peer with the original and the fact does not diminish their use facsimiles
libraries currently utilize when considering the withdrawal of a mono- information. It is true that in other countries this is an everyday custom,
graphic title from their local collection. The survey collected 99 valid because users can access databases and digitized archives quickly and can
responses and focused on analyzing current withdrawal practices and access the original, print it or even treat it with software applications.
policies as well as specifically focusing on the impact of either access This is not the reality of some National archives in Latin America, where
to electronic content or a commitment to retain a physical copy at today you can get colonial documents photocopied, with the serious
another institution or shared print repository on those practices. While damage that this procedure causes in the paper supports. While laws
not the main focus of this presentation, the information collected of access to public information force us, the archivists, to give citizens
from this survey will help to frame the main substance of the talk, the records, in the Nationals Archives we should always insist on the
focusing on the variation between “identical books” as defined by preservation of documents, mainly the historical documents. The
the shared print community. This bulk of this presentation will focus National Archive of Uruguay has implemented a Conservation Policy,
on the findings of a recent study of books cataloged as identical, but the prohibition of the users’ manipulation of the colonial documents
upon physical reviewing showing differences in editions, printings, and struggles for the independence as also those of the early years of the
condition, and treatments. Currently, the author is completing data republic that are already digitized. The majority of the ancient archival
collection from a physical comparison of forty-four theoretically documents are kept in good conservation conditions in a conservation
identical monographic titles held by their library consortia, the Big chamber providing them to the best standards of stable temperature and
relative humidity to avoid the appearance of risks damages.

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27. (I Can’t Get No) Documentation: Preservation commercially produced iron-gall ink test papers are available only as
reporting in the Archives narrow strips, conservators developed a method to produce test papers
in house by saturating filter paper with bathophenanthroline solution.
Marissa Vassari, Julia Welby The proposed poster will show how to make iron-gall ink test paper
and how to use it effectively, including wetting up the paper prior to
In accordance with the archivist’s core value of affecting workflows that
testing and maintaining contact between the indicator paper and the
prolong the lifecycle of our collections, the Rockefeller Archive Center
ink-inscribed areas.1,2,3,4
(RAC) has been taking a hard look at the role of preservation practices
(1) Jan Neevel, ” (Im)possibilities of the phytate treatment,” in Postprints
across our organization. As our institution grew over the last forty years, of the Iron Gall Ink Meeting 2000, (Newcastle, UK: Conservation of Fine
our preservation documentation proved insufficient and inconsistent. Art,University of Northumbria, 2001), 125-134.
As members of the Collections Management team, we have explored (2) Elmer Eusman, “Aqueous treatment effects of iron gall ink: Monitoring
documentation practices that promote interdepartmental communica- iron migration with the Fe(II) indicator test,” in The Broad Spectrum: the art
tion, transparency among staff, and long-term tracking of all preserva- and science of conserving colored media on paper, ed. Harriet K. Stratis et al.
tion decisions and work done on our collections. Incorporating best (London: Archetype Publications Ltd, 2002), 122-127.
practices, we have developed and implemented a Preservation Report. (3) Claire Dekle and Mary E. Haude, “Iron-gall ink treatment at the
This presentation will examine the report’s elements and share how Library of Congress: old manuscripts--new tools, “The Book & Paper Group
Annual 27 (2008), 15-26.
use of the form has impacted our organization over the last year. The
(4) Jan Neevel and Birgit Reissland, Bathophenanthroline indicator paper:
success of the Preservation Report is ultimately tied to its longevity.
development of a new test for iron ions 2005, Papier Restaurierung 6, no.1
We wanted to create a form that could be broadly applied to the full (2005), 31.
range of preservation steps available at our organization. We do not
have a designated conservation department, and as a consequence,
practical preventative preservation is our goal. The report identifies the 29. An Enclosure for a 3-D Object in a Scrapbook
item(s) slated for preservation, notes the collection information, and
lists any format specific requirements. There is a designated section for Noah Smutz
detailing the current condition of the material, a space to summarize For this poster, I will focus on one aspect of a treatment I performed
the executed preservation plan, along with a note of where the material on a scrapbook. Scrapbooks are inevitably found in almost all archival
is located in the vaults. Preservation project work is executed inter- collections. Due to their storage in archives and libraries, scrapbooks
departmentally, and as such, tracking location of the item is vital. routinely find themselves on a book conservator’s bench. They are
This is particularly pertinent as it relates to our revamped digitization usually made from cheap materials and were produced at high speed
program that pulls together members from teams across five depart- and low cost. Once bought, they are usually overstuffed with items by
ments. We define transparency as a state in which the staff is able to their owners. These things all contribute to conservators interacting
easily discern not only who is responsible for a project, but also others with scrapbooks. While they end up in the hands of a book conservator
who are assisting, consulting, and being informed. Specific to preserva- it is not uncommon to find some very unbook-like things within a
tion projects, the report includes a chart that identifies specific staff scrapbook. These are usually three-dimensional objects. This led to me
members by role for each necessary task. Acknowledging that members investigating how to best preserve these objects in scrapbooks without
of our staff have different areas of expertise, our institution strives to removing them from the page.
collaborate so as to break out workflows that best promote long term As part of my summer internship at the University of Kansas, I
preservation of our archival holdings. Integrating this chart in the treated Emery McIntire’s scrapbook. This scrapbook was in particularly
report allows for a clear work plan and encourages interdepartmental poor condition and as part of the treatment it was decided to keep it
communication. The “why” behind a final preservation decision is an disbound. It contains some amazing things. These included firecrackers,
integral part of an item’s preservation story. It is our goal to share that part of a football, part of a bleacher (I think), and most incredibly a
story with both current and future staff. Corroborating with profes- 100-year-old piece of hardtack. Hardtack is a military food ration that
sionals in other institutions has confirmed that current best practices was used for hundreds of years. It is comprised of flour and water and
are being followed at the RAC. The Preservation Report we created is baked repeatedly in order to remove all the moisture from it so it will
encourages accountability and alleviates the complications of using not rot. This is why a piece can survive in a scrapbook for 100 years!
multiple forms of documentation for the same project. Moreover, In its final form, it is an inedible brick. Usually to ingest it soldiers
it has proven to be an effective way of reaching our documentation would dunk it in water or preferably coffee to make it more palatable.
objectives and, ultimately, supports the RAC’s interdepartmental goal The main questions brought up by finding a piece of hardtack in the
of transparent collection care and long-term preservation. scrapbook were: How do we conserve hardtack? How do we conserve it
while keeping it a part of the scrapbook? And how do we provide access
to it without further damage coming to the hardtack?
28. Necessity is the Mother of Invention: DIY iron My goal in treating this page was to make the page accessible for
(II) test paper both staff, to keep the hardtack on the page, and to do these things
Julie Biggs, Claire Dekle, Cyntia Karnes, Yasmeen Khan, Susan in as simple a way as possible. The enclosure developed to store this
page is a five-layer stack. The outer two layers are pieces of corrugated
Peckham
board with 6 ties attached to each. The next layers are in Ethafoam
Conservators researching the effects of ethanol-modified washing corrugated board laminates that act as spaces for the hardtack on one
and complexing solutions at the Library of Congress monitor ink- side of the page and a dance book on the other. The inner layer is a
inscribed paper for iron (II) ions, an indicator of ink corrosion. Since double window mount in which the page is float mounted to display

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the page and to allow it to be handled without touching the page. guidelines for collections. While some members of the conservation
This enclosure allows for the page to be moved and viewed while being field are working under new specifications that allow a broader climatic
supported and without worry of further damage occurring. This is a range, there is nonetheless lingering uncertainty within the profession
solution that is usable for any three-dimensional object found inside about the consequences to collections from adopting a more liberal
a scrapbook if the desire is to keep it on the page, and the page can be approach to exhibition and storage environments. A major impedi-
stored separately from the scrapbook. ment to a wider acceptance of broader environmental parameters is the
recognition that the field currently has an incomplete understanding of
the chemical and mechanical reactions of some hygroscopic materials
30. Conservation in Miniature: The merger of to relative humidity and temperature levels outside a narrow range.
museum object and historic interior in the treatment Invaluable data can be obtained from examining objects rather than
of a Victorian era dollhouse just materials, which when combined with scientific data, can identify
more precisely under which conditions irreversible damage occurs as a
Sarah Giffin result of climatic fluctuations. This poster will highlight a pilot study
The conservation and restoration of antique dollhouses is an infre- developed for the Managing Collection Environments Initiative at
quently discussed theme within conservation practice. Despite there the Getty Conservation Institute. The study monitors the condition
being about 172 institutions worldwide that have at least one dollhouse of a small collection of wooden objects under controlled humidity
within their collection, publications on the subject are few and far variations. The objects are of different age, construction, thickness
between and typically relate to specially funded projects or exhibits. and have different finishes, to represent some of the variety found in
This is unfortunate as dollhouses occupy a unique intersection within museum collections. As the objects adapt to different relative humidity
conservation practice, acting as both a moveable museum object as levels, the change in their condition is monitored and documented.
well as a miniaturized historic interior. Although dollhouses are both The methods used range in sensitivity from precise observation and
portable object and architectural space, the published treatments that conventional photography to acoustic emission (AE). All techniques
exist for these tiny homes often focus only on methods used within the will be described in more detail in the poster.
conservation laboratory and disregard the dearth of information from The observations and scientific data resulting from the pilot study
the architectural and historic interior conservation sector. This paper is interpreted using statistical data of variable quality and credibility.
argues for the use of architectural preservation techniques miniaturized The techniques for quantifying damage are assessed and the poster
to dollhouse size as a viable method of preserving dollhouses while explores how they can be used in a larger series of prospective cross-
simultaneously addressing the architectural qualities of these miniature sectional studies, employing methods found in epidemiology. Applied
homes. To demonstrate this, the author will focus on the treatment to cultural heritage, an epidemiological approach can identify how a
of a Victorian-era dollhouse at the Horniman Museum and Gardens physical condition or environmentally-driven adverse effect is distrib-
in London, United Kingdom. Specifically addressed is the in-situ uted in museum collections.
treatment of aged and water damaged wallpaper that was bubbling and This pilot study is part of the Managing Collection Environments
lifting from the walls of many of the rooms in the house. The author Initiative (MCE), a multiyear initiative at the Getty Conservation
decided to adapt a method used by wallpaper conservators to re-adhere Institute that addresses a number of compelling research questions and
the paper in-situ, so as to preserve it within its architectural context. practical issues pertaining to the control and management of collection
Nevertheless, this method had to be creatively adapted in order to environments in museums.
fit within the size of the rooms and prevent further damage caused
by adhesive type. It was determined that the best way of treating the
32. Treatment of a Shattered Bark Basket from
Horniman Dollhouse’s wallpaper was by humidifying the paper with a
medical nebulizer and injecting the lifting bubbles with 3% w/v Klucel Australia
G in acetone using a 10cc syringe and needle. Areas that had torn and Marci Jefcoat Burton
were lifting were re-adhered with a Klucel G film, reactivated through
the wallpaper with acetone and a brush. The miniaturized treatment This poster focuses on the characterization and treatment of an
method allowed the author to work within the size constraints of the Australian bark basket, and the fabrication of an internal structural
rooms, while also maintaining the integrity of the house as a domestic support deemed necessary for safe housing. Bark is a material used in
space, albeit a tiny one. The results show that the adaptation of historic the production of composite objects, including painted and framed
interior conservation techniques to the micro-scale opens up a dearth whole bark baskets, pounded and painted inner bark (i.e., bark cloth),
of architectural conservation literature that can be used by objects and paintings on sections of whole bark. The most comprehensive
conservators, as well as allowing for the holistic treatment of dollhouses published studies relate to the care and treatment of bark cloth and
as an interior rather than a conglomeration of material types. paintings on flattened bark, while a dearth of information exists
regarding the treatment of three-dimensional objects made from bark.
An Australian Aboriginal bark basket deaccessioned from a local
31. Under Close Observation: A pilot study museum was donated to the UCLA/Getty Conservation of Archaeo-
monitoring change in objects’ conditions logical and Ethnographic Materials Program. The basket arrived with a
broken rim and detached sections, as well as with areas of delamination
Vincent L. Beltran, Foekje Boersma, Jim Druzik, Ashley Freeman, and splitting in the bark sheet. The extreme warping distortions were
Michal Lukomski, Joel Taylor causing bark fragments to curl up along the edges and shift out of plane.
Treatment of this bark basket required previously unreported steps for
The push for more sustainable climate management strategies has chal-
humidification and consolidation. Areas of delaminated bark were
lenged the conservation field to review its environmental standards and

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consolidated and cracks were adhered with Paraloid™ B-72 in acetone. documentation. Technical and material examination is also performed
Different local humidification methods were employed to restore the on certain objects. For example, ultraviolet illumination is used to
bark bag to its original shape. Following testing, repairs to hold the identify the presence and types of adhesives and consolidants by fluo-
bark fragments together were made with toned tissue strips pasted with rescence. Magnification is used to clarify identification markings and
a mixture of 1:1 Lascaux 360 HV:Lascaux 498 HV acrylic dispersion labels, and handheld x-ray fluorescence is employed to look for the
adhesives. The fragility of the thin bark sheet and the tension required presence of toxic metal-based pesticides on organic objects. Combined
to return the distorted basket back to its original elliptical shape served with documentation from photography professionals and archaeo-
as two opposing factors that created challenges towards the steps taken logical curation, this process provides a comprehensive analysis of all
in the realignment treatment. Weight could not be applied safely in NAGPRA objects and can serve as a model for incorporating conserva-
several locations, most notably the sides. For these tenuous locations, tion into the repatriation process.
clips and rare-earth magnets were used to provide the force required
for the humidified bark to flatten and for mended repair areas to cure.
To combat environmental distortions, various flexible materials such 35. Between the Ephemeral and the Immortal:
as Volara™, Ethafoam™ sheet, silicon tape, Coban™ wrap, and Teflon™ Considerations about the process of conservation of
tape were used to provide the tension force required to hold the desired Ticuna’s barkcloth
shape of the basket. The last step in treatment involved fabrication of
an internal structural support to safely house the bark basket with its Paula Aline Durães Almeida, Edson Tosta Matarezio Filho, Marcia
fragments and maintain its overall elliptical shape. de Almeida Rizzutto, Ana Carolina Delgado Vieira
Masks representing immortal mythical creatures of the forest are part
33. Fatal Attraction: Trials and tribulations in toning of female initiation ritual known as the “Festa da Moça Nova” of
Ticuna Indians who are currently living in areas between Brazil, Peru
rare earth magnets and Colombia. This ritual, documented since the nineteenth century,
Morgan Blei Carbone persists in some communities today with few variations. The masks
are produced exclusively by men and its use is unique in the rite of
Magnets are one of the many ways that artwork is hung in galleries passage of girls to adulthood. The masks and the girls share a meta-
and institutions today. While the success of magnetic hanging systems morphic process where at the end of the ritual, both start a new life
is well documented, there is much less information on toning magnets cycle. However, the ephemerality of these objects is daily witnessed.
when they are visible on the surface of the displayed object. This poster The preservation of these materials is a race against time, where
will illustrate different methods of toning rare earth magnets, from conservators seek to prolong the life of objects that are produced for
painting and powder coating to encapsulation with fabric and paper. It a ritual and are often discarded after its use. From the standpoint
will also contain the results of an informal survey of conservators that of its patrimony, we can acknowledge the Museu de Arqueologia e
have faced the challenge of camouflaging magnets in display systems. Etnologia (MAE) from University of São Paulo (USP) as the holder of
Successes and failures along with samples of magnets will be presented. one of the largest, most meaningful and best preserved collections of
the Brazilian indigenous cultural heritage.
From 1942 to 1965, the ethnographer-photographer Harald
34. NAGPRA and Conservation: Documenting Schultz distinguished as one of the greatest collectors of the indigenous
repatriation materials from the perspective of a ethnological heritage. The collection of Ticunas’s masks and costumes
conservation professional consists of 691 barkcloth objects collected between 1955-1960. During
his expeditions, Harald Schultz also recorded their field experiences
Dr. Elyse Canosa, Dr. Nancy Odegaard
in photos and films and his production is still of great importance to
The Arizona State Museum (ASM) is a nationally recognized leader in understand the continuity of processes and cultural resistance. Plant
executing legislature from the Native American Graves Protection and materials which are modified to provide raw materials for the manu-
Repatriation Act (NAGPRA). Since 1986 the museum has repatriated facture of objects and the ways in which these objects were used can
more than 2,000 sets of human remains, 45,000 funerary objects, and be elucidated with the information recorded during these expeditions.
300 objects of cultural patrimony while receiving numerous grants These photos and videos help us understand the biography of these
to complete such projects. Prior to tribal repatriation, all objects are objects that are lying inside of our storage areas. This poster explores
documented from various angles during a systematic process imple- the research project that is currently ongoing at MAE/USP. We identi-
mented at the Arizona State Museum. The final documentation stage fied three types of barkcloth used for making objects in this collection.
is performed by members of the Preservation Division, focusing on These materials have different degradation processes. Some masks have
understanding the history of the objects from the perspective of a preserved its flexibility and integrity, while others has rigidity, brittle
conservation professional. This presentation discusses the established fibers, and losses.
ASM protocol for conservation assessment of NAGPRA materials and To understand the relationship between its composition and
how the resulting information is highly beneficial to both the museum intrinsic factors of degradation of these objects, the barkcloths was
and to tribal members. Typical documentation involves evaluating rated by their conservation status and by the results of X-ray fluores-
the ways in which objects were previously altered by observing if cence (XRF) and pH analysis. We also present here treatments that are
they were repaired, stabilized, labeled, or sampled. The conservation carried out such as cleaning, humidification, reshaping and infilling
professional looks for evidence of display or prior destructive analysis of losses. These actions are performed for several reasons - some
while connecting visual assessment information and archived written have an actively deteriorating process, others need to be prepared

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for exhibitions, transport and research. This project also involves the 37. Mending Baskets: Revisiting older approaches
cooperation of an interdisciplinary team to conduct collaborative work with new techniques and inventing better solutions
with the Ticuna. Through these collaborations, we were able to come
up with more effective preservation strategies and we strengthened our Leah Bright, Betsy Burr, Skyler Jenkins, Dr. Nancy Odegaard,
relationships with the originators of collections. Join efforts to under- Nicole Peters, Marilen Pool, Gina Watkinson
stand the perspectives of indigenous groups on the conservation of its
In 2011, the Arizona State Museum (ASM) basketry collection became
heritage is one of the objectives of this project.
an official project of the Save America’s Treasures (SAT) program.
Known as “Woven Wonders: Basketry Project,” this effort addressed
36. Conserving and Interpreting the Mechanical Jacks the need for new environmentally controlled, secure, unified space
for over 35,000 cataloged items that includes arguably the largest and
from the Queen Anne’s Revenge
most comprehensive collection of southwest basketry items. Much has
Arianna DiMucci been accomplished since the initial SAT grant. Specifically, treatment
protocols have been developed, approved, executed, and refined with
This poster presents the in-progress conservation of two mechanical funding from two IMLS awards. The treatments and storage supports
jacks recovered from the early eighteenth century shipwreck Queen used on basketry at the ASM are based on professional standards and
Anne’s Revenge (1718), flagship of the pirate Blackbeard. The jacks are special knowledge gained during the Item-by-Item survey during the
being conserved at the North Carolina Department of Natural and multi-year treatment phase of the project. The equipment, supplies
Cultural Resources QAR Lab in Greenville, NC. Their conservation and materials for the conservation treatment of the basketry have
represents a considerable challenge, one that will require the adaptive been tested for use in conservation and are generally available through
application of traditional and new technology for archeological iron known distributors within the fields of conservation and collections
recovered from a marine environment. Designed to lift or pry apart management. They are considered safe, appropriate, stable, and revers-
heavy objects, the jacks were likely part of the ship carpenter’s tool ible. The conservation of a research based collection has required
kit. Similar jacks have been recovered from the English slave ship conservators to be mindful of: surface sampling protocols; indigenous
Henrietta Marie (c.1697-1700), several 1715 Spanish flota sites in and historic use, residues, and repairs; and identification of materials
Florida, and the Dutch East Indiaman Hollandia (1740-1750). These and technologies. Mending, the general expression that emphasizes
devices worked much like modern hydraulic jacks and consisted of a the idea of making something damaged whole and complete is not
tapering, slotted rack, one end of which was used for lifting; the other exactly the correct definition for all basketry conservation treatments.
passed through the center of a gearbox containing two or three gears However, the techniques employed seek to address a specific structural
that meshed with and drove the rack. X-rays of the jacks from the problem with minimal introduction of new material or disturbance
Queen Anne’s Revenge have revealed a large geared wheel with eighteen of original material. This poster illustrates details for many of the
teeth, the slotted rack, and rack guides which would have held the successful treatments developed for items in the ethnographic and
rack in position as it moved through the gearbox. Previous conserva- archaeological collection.
tion work on one of the jacks has additionally revealed a number of
corrosion-filled cavities where the large gear sits, though the core of
the gear appears to be mostly solid. The condition of the iron varies 38. Guns and Ships: Using dry ice blasting in the
dramatically and both jacks will likely require substantial casting as conservation of cast iron
their conservation progresses given how variable the iron appears to
be. While comparative examples provide much needed assistance in William Hoffman, Laurie King
piecing together the original appearance of the jacks, such resources
are less useful in terms of the specifications of the gearing mechanism, This poster presents an assessment of dry ice blasting as a treatment
especially given its deteriorated condition. Particular attention will be method for the removal paint and corrosion from cast iron objects.
paid to determine how complex this gearing system is as the gears and Currently, The Batten Conservation Complex (BCC) within The
their corroded cavities complicate the implementation of a successful Mariner’s Museum and Park, Newport News, VA, is responsible for
conservation strategy. This poster will therefore look at available the conservation of two British naval guns. The guns had originally
treatises and illustrations to guide the progression of the conservation been aboard vessels scuttled on the York River during the Battle of
of the jacks and will highlight the use of photogrammetry to create a Yorktown in 1781 and were recovered from the river in 1934 through
three-dimensional model for exhibit at the North Carolina Maritime a partnership between The National Park Service, Newport News
Museum. The two jacks will be presented in the context of their day- Shipbuilding, and The Mariners’ Museum and Park. Since recovery,
to-day operations, with a focus on their role in shipboard life in order the guns have been painted several times, displayed in both indoor and
to augment our current understanding of the Queen Anne’s Revenge. outdoor settings (often adjacent to a saline/brackish environments),
and exposed to fluctuating relative humidity and temperature. In
early 2016, it was noticed that the protective paint coatings previ-
ously applied to the guns had failed, as well as visible evidence of
recent corrosion. From these observations, it was determined that full
re-treatment of the objects were necessary which included the removal
of the paint coatings and surface corrosion followed by desalination.
To avoid using large quantities of solvent and to significantly reduce
active mechanical hands-on treatment time, alternate methods of paint
and corrosion removal were investigated. Testing was conducted using

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both traditional abrasive media blasting using aluminum oxide as well held by Faith. Conservation was undertaken at the MFA revealing
as dry ice blasting following a procedure previously developed within extensive gilding residues over the surfaces (as well as residues of
the BCC for cleaning wrought iron. Results of testing identified dry ice white lead and of gesso-like layers) which prompted an in-depth
blasting as a better choice for cleaning cast iron than aluminum oxide. research project to investigate the decorative patterns that originally
Further testing was then conducted to develop a cleaning procedure for covered the surfaces of these sculptures. This investigation contrib-
the removal of paint on the two British guns. uted significantly to understanding the history and original appear-
ance of the sculptures. Gilding remains and residual patterns were
documented and photographed with both short and long wave UV
39. What Makes the White in White-on-red Ware? A light for possible enhancement of remaining gilding adhesive. The
study of two white-on-red Etruscan pithoi gilding residues and waxy green exudates on the ”modern” gilding on
Faith were sampled for analysis with SEM-EDS, Fourier Transform
Lynn Lee, Sara Levin, Jeffrey Maish Infrared Spectroscopy (FT-IR), and X-Ray Fluorescence Spectros-
This study characterizes the white decoration and extent of previous copy (XRF) by the MFA’s Research Scientists. Samples of the modern
restorations of two white-on-red pithoi in the J. Paul Getty Museum gilding on the halos of both Faith and Hope were prepared as cross-
collections. Produced during the latter part of the 7th c. B.C., white-on- sections and evaluated to identify the materials, distinct layers or
red wares were short-lived but popular during the Orientalizing period. applications of gilding, and differences or similarities between gilding
One of the Getty’s pithoi contains an early depiction of the blinding of on the two sculptures. Museum curators were consulted about preva-
Polyphemos from the Odyssey, making it an important initial example lence of gilding on glazed ceramic and in artwork of the Renaissance
of a classical motif. However, some unusual details in the illustration and provided literature about textiles produced in Florence before
prompted the investigation of the media to define any modern restora- and during the period of the Buglioni workshop. Access was provided
tions that would obscure the original. The second white-on-red pithos to the museum’s sample collection of Florentine Renaissance textiles
from the collection is covered in geometric decoration and was studied in order to compare patterns evident in the gilding residues to textiles
simultaneously to support the broader understanding of the white manufactured at the time the sculptures were made. Results of the
media. The era of production of the ceramic was confirmed with ther- investigation provided substantial evidence that elaborate patterned
moluminescence (TL) dating, but distinguishing restored decoration gilding covered the “clothing” possibly resembling textiles being
from original was challenging due to an overall coating and the nature produced in Renaissance Florence, which was a center of textile
of over-paint. Restorations lacked significant amounts of historic or production noted for embroidery of gold thread on velvet. In
modern white colorants, such as lead white or titanium white, that addition, the research confirmed that the current dominant gilding
were commonly used to mimic slip in the nineteenth and twentieth on both of the halos is not original, but obscures original gilding
centuries. Although technical studies of white-on-red wares are few, on the halos of both figures. The original gilding was applied with
recent research performed by other institutions has identified the white a thin adhesive and fired at a very low temperature, but without
decoration as a kaolin slip. A combination of analytical techniques was bole or a substrate layer. The later 19th or 20th century “gilding” on
used in the current study including ultraviolet illumination (UV-VIS Hope proved to be brass paint and on Faith gold leaf over a substrate.
fluorescence), x-ray fluorescence (XRF), Fourier transform infrared Prussian blue was identified in a sample of the green exudates on the
(FTIR), Raman spectroscopy and scanning electron microscopy- “modern” halo gilding from the figure of Faith, providing a terminus
energy dispersive spectroscopy (SEM-EDS). Results indicate the likely post quem of the early 1800s. These variations also indicate the
presence of kaolin and gypsum in the Polyphemos pithos, but identified sculptures were not paired throughout their history.
calcium carbonate as the dominant colorant in the geometric pithos.
These findings indicate that the media may not have been fired-on, as is
suggested in other studies, or is highly masked by modern restorations. 41. The Emergence of the Science of Botany:
The present work addresses the challenge of identifying a kaolin-based Preservation of personal herbaria
(alumino-silicate) medium on top of a ceramic substrate, with modern
Olga Souza Marder, Kelsey Osborn Miller, and Catherine Stephens
over-paint and/or overall coatings present, and defining restorations
that use pigments such as calcium carbonate that were also available in This paper will investigate the preservation issues and treatment chal-
ancient contexts. Archaeological details, such as manganese staining, lenges posed by the LuEsther T. Mertz Library’s Exsiccated Specimens
and visual comparisons with contemporaneous objects provide addi- Collection. This collection is comprised of over one hundred herbaria,
tional clues about the original white design. dating primarily from the 19th century. This diverse group of items is
made up of many individual herbaria: systematically arranged collec-
tions of dried plant specimens that were gathered, pressed, organized
40. Investigation of Gold Residues on Glazed and secured to a support material. In most cases, the specimens were
Renaissance Sculpture: Gilding the virtues adhered to the pages of a blank book or to paper sheets and were
identified by each collector with varying degrees of accuracy. These
Abigail Hykin, Casey Mallinckrodt herbaria may not include all required plant parts and/or associated
Glazed terracotta figures depicting the Christian virtues Faith and data to make them suitable for scientific study as are those found in the
Hope by Benedetto Buglioni (1459-1521) were loaned to the New York Botanical Garden’s William and Lynda Steere Herbarium.
Museum of Fine Art, Boston (MFA) from a private collector for In many botanical libraries, herbaria such as these have been relegated
inclusion in the exhibition “Della Robbia: Sculpting with Color in to a secondary role in spite of their enormous historical and artifac-
Renaissance Florence.” The figures are glazed white with apparent tual value. They may shed light on many facets of Western interest in
“modern” gilding on the halos, as well as on the base of the chalice botany and the popular appreciation of plants.

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The Mertz Library’s Exsiccated Specimens Collection includes the thin and unable to safely support the weight of the arms on their own.
personal herbarium of the prominent American botanist John Torrey, Long cracks propagating across the gourd had caused it to twist slightly,
botanical souvenir books of 19th century tourism, and many senti- making alignment and stabilization less straightforward. While these
mental volumes of dried flowers from the Victorian era. The earliest two tasks occupied the bulk of the treatment, other condition issues
item in the collection is the Catalogus Plantarum Flore, compiled addressed include cleaning and minor repairs to some of the feathers
between 1660 and 1753, which is a unique combination of plant as well as thorough mechanical cleaning of the fur collar which upon
specimens, manuscripts, collages and illustrations. In conjunction with examination was found to contain the remains of a past insect infesta-
the cataloging of this collection, the Conservation team carried out an tion. Particular challenges during this treatment included the repair and
item-by-item survey to record the characteristics and current condi- stabilization of cracks in the gourd body while retaining flexibility and
tions of each object in the collection in order to plan for rehousing avoiding rigidity; reattachment and reinforcement of the arms which
and for possible conservation treatment. The Conservation team also required an internal armature to take the weight off the repaired gourd
worked with Garden’s botanists to assess the scientific contents of many walls which otherwise were the only points of attachment; stabilization
of these items as well as to review samples of the scientific herbaria held of the base to solve an existing wobble which was endangering the
by the Garden’s Steere Herbarium. already top heavy figure; and finally the visual reintegration of the most
The Exsiccated Specimens Collection presents many housing and distracting cracks in the Katsina body.
treatment difficulties because the items take many different forms, each
needing special considerations. Various methods were used to attach
specimens to their support. These methods included gluing, sewing 43. Exploring Methods for Determining the Age of
and tacking specimens down with strips of gummed paper. There are Clock Mainsprings
even more variations between the herbaria when it comes to style of
bindings. There are homemade pamphlet-sewn booklets, stationer’s Mostyn Gale
blank books, plant collecting albums, photo albums, loose-leaf portfo- Many mechanical clocks utilize mainsprings made of steel as their
lios and some specimens are mounted between glass plates. All of these power source. Through normal use and ageing these mainsprings may
items are meant to display and preserve old and fragile specimens of break or become weak which leads to their replacement. In essence,
dried plants. For this reason, the collection is particularly susceptible to mainsprings have a finite life and are generally treated by clockmakers
damage from insects, humidity, mold, and poor handling. The bound as a consumable part of the clock. As a result, historical data is lost
herbaria, for instance, represent a major challenge and ethical dilemma when old mainsprings are discarded. Today, an original mainspring in
for conservators and curators regarding their access and digitization. an 18th century clock is rare. A survey of nearly seventy horologists
This paper will discuss the findings of the collection survey, preser- demonstrated that 90% of what are perceived to be weak mainsprings
vation concerns and conservation treatment. It will provide a brief are replaced during repairs or restoration projects. The survey also
historical overview of the practice of collecting and preserving dried showed that maintaining a clock in working condition is amongst
plant specimens as well as examples of scientific plant specimens held the most important goals for horologists. This goal stands in opposi-
by the Garden‘s Steere Herbarium. tion to widely accepted conservation practice—maintaining historical
integrity with minimal intervention—a functioning clock is destroying
itself through use and normal wear. For the conservator, this raises
42. Treatment and Reconstruction of a Badly the question of whether a mainspring can legitimately be treated as
Damaged Hopi Katsina Doll Made of Gourd a consumable, or should be preserved as part of the historic integrity
of the clock above all other factors. A literature search indicated that
Hayley Monroe
published articles relating to conservation of clock movements are
This poster will display the step by step treatment of an unusual Hopi few, and those relating to mainsprings—particularly determination of
Katsina doll - Katsina is the Hopi spelling of the more common the age of a mainspring—even fewer to non-existent. The goal of this
Kachina. These dolls are not only associated with the Hopi, but also the research is to provide a guide for determining the age of a mainspring
Zuni and Pueblo communities of the American Southwest. The brightly so that a more informed decision can be made about its retention
painted figures are usually carved from wood. This treatment addressed or replacement. An historical study of the mainspring manufacturing
a badly damaged and privately owned Katsina which was brought to process led to the definition of four broad eras that may be differenti-
the UCLA/Getty conservation lab for treatment. The piece, depicting ated by visual and analytical techniques. An initial study of twenty
the eagle spirit or Kwaakatsina, was made in 1995 by the Hopi artist mainsprings was conducted using visual inspection, microscopy, and
Ferrill Nequatewa, best known for making traditional gourd rattles. x-ray fluorescence techniques. The test results demonstrated that the
Like his rattles, this Katsina is composed primarily of hollow gourd. In general date of a mainspring can be determined. A case study has
this case two, one for the body and one for the head. The figure’s limbs been used to demonstrate issues in an actual clock and resulted in
are made from a combination of wooden pieces and are attached with the determination that its mainspring was most likely original to the
both adhesive and wooden dowels. There are additional fur and feather clock. The work carried out points the way for further study, testing,
details on the head and around the neck. The figure is brightly painted and analysis.
with acrylics. The gourd which makes up the body of this Katsina is
particularly thin-walled and fragile, and as a result it suffered the
majority of the damage when the Katsina was broken into pieces. When
the limbs and head were broken free from the body they took with them
significant portions of the gourd wall. This greatly complicated their
reattachment as the joins between the pieces of gourd were extremely

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44. Applying Fills to Losses in a Flexible Polyurethane century, during a period of time when restorations of ancient statuary
Foam Chair at the Museum of Modern Art fragments were commissioned by European nobility or from dealers
who sold them. This sculpture was in the collection of James Hugh
Alexandra Nichols Smith Barry, Cheshire, England, who had acquired Greek and Roman
statuary in the late 18th century.
This poster will focus on applying fills to losses in the Torneraj
In recent years, the sculpture has been reconsidered as an
Armchair, a coated flexible polyurethane foam chair in the collection of
18th-century work of art, which in turn provides a new opportunity
the Museum of Modern Art in New York City. While there is extensive
for its reinterpretation to the Museum public. The ancient stone
literature on the consolidation of polyurethane foam artworks, there
fragment of two torsos has twelve added elements including the heads,
is very little information on creating fills for soft polyurethane foam
some limbs, and the drapery, which complete the reconstruction. It
sculptures. The Torneraj Armchair had sustained large losses to the foam
stands one meter tall and depicts the figures Dionysos and Maenad
and coating due to degradation of the polyurethane foam substrate
walking with arms around one another. Two similar examples of this
due to photo-oxidation. Scientific analyses of the foam substrate and
group are located in Antikensammlung of the Berlin State Museums
pigmented coating for the chair were conducted using polarized light
and the National Archaeological Museum in Athens, which suggests
microscopy and FTIR to determine appropriate adhesives and solvents
that the MFA fragment may have been re-cut during the restoration
for treatment of the chair. For this treatment, new polyurethane foam
to Dionysos from the god Priapos, characterized by a large erect penis,
was selected as the fill material to retain properties of the original foam
notably absent from the MFA version.
substrate. The use of liquid nitrogen to freeze soft polyurethane foam
The conservation assessment has involved examination of the
so that it can be cut and shaped into smaller sizes and grains will be
surfaces under magnification in order to compare the characteristics
described. This poster explores methodology for testing various fill
of the ancient marble to the restorations and areas associated with
adhesives using mock-ups, and describes how fills can be applied and
re-cutting. Visible surface characteristics associated with re-cutting
inpainted to restore the overall appearance of foam artworks.
during restoration appear to have resulted from the removal of calcar-
eous deposits, integration of losses or damage, and modifications to
45. The USS Monitor Gun Carriages: Treatment steps integrate added components. Significant stylistic changes are thought
to have been made to the chest, torso, and right leg of the male, and
and innovations for the conservation of complex the right chest of the female, in order to reduce the volume of his body,
composite artifacts creating more slender figures. Though there is evidence of re-cutting
William Hoffman, Elsa Sangouard, Kathleen M. Sullivan along the inside of the male’s right leg and along the drapery, it is
difficult to determine with certainty that the figure is indeed missing
The USS Monitor was the first ironclad ship built by the Union Navy an erect phallus. The discussions around the stability and aesthetics of
for use in the American Civil War, and with its construction, ushered the 18th-century restorations have been and continue to be compel-
in a change in the nature of naval warfare and shipbuilding. It featured ling. To what extent should we re-address the restoration without
the world’s first revolving gun turret on a ship which was armed with actually changing the restoration? Given the important context of the
two XI-inch Dahlgren shell guns. Each gun rested on a specially sculpture being an 18th-century artwork, to what extent should the
designed gun carriage, which consisted of about 300 individual restoration materials be preserved? These discussions remain in process
component parts made of wood, copper alloy, wrought iron, and cast until conservation is complete this December.
iron. Recovered in 2002, both carriages are housed at The Mariners’
Museum’s Batten Conservation Laboratory complex, and are under-
going active conservation. No treatment exists to preserve copper alloy, 47. Case Study of Regalrez 1126 Used as an Adhesive
iron, and wood simultaneously so the carriages must be disassembled and Consolidant in the Conservation Treatment
for treatment. The complexity of the artifacts as well as the magnitude of an 18th Century Chinese Amber Cup at The
of the task led to innovative conservation methods in order to disas-
semble and treat the objects safely. This poster discusses the successive
Metropolitan Museum of Art
treatment phases of these composite artifacts, the innovations used, Tong Tong
their successes as well as their restrictions.
This poster discusses the method of using Regalrez 1126 as an adhesive
and a consolidant in the conservation of amber objects. In paintings
46. Ancient Figures Become an English Pleasure and furniture conservation, Regalrez 1126 was commonly used as a
material for consolidating degraded surface coating without the need
Gerri Strickler for removing most of the original coating material. Since Regalrez
A restored ancient sculpture within the Museum of Fine Arts, Boston, 1126 is a non-polar, hydrocarbon resin with low-molecular weight,
was recently transferred from the Art of the Ancient World to the Art it is compatible with most natural resin that were used historically as
of Europe. The sculpture, which was last on view in 2002, is planned varnishes and furniture coating materials, such as dammar, shellac and
for exhibition in a newly reinstalled European Decorative Arts gallery lacquer. It infills the losses, saturates and restores the gloss and dura-
(December 2016), which has prompted the Object Conservation bility of varnishes and coatings made of natural resins.
Department to reassess its condition and further document the restora- However, case studies of Regalrez 1126 used as a primary adhesive
tion. The sculpture was given to the MFA in 1968 and understood to for repairing amber objects were yet to be reported. A previous research
be a pastiche containing a large fragment of 1st or 2nd century Roman initiated by Linda Lin demonstrated preliminary exploration on the
sculpture. The missing compositional elements were added in the 18th potential of Regalrez 1126 replacing Paraloid B72 as both an adhesive
and a consolidant in the conservation of the Asian amber collection at

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the Metropolitan Museum of Art (MMA). Regalrez 1126 is dissolvable artworks as well. How do you accommodate unavoidable distortion
in petroleum benzene and mineral spirits, which are the two organic caused by the camera angle and lens? How can you include registration
solvents with low –polarity and will not interfere with soluble compo- markers to more easily align photographs for stitching? What other
nents within the amber. In addition, the refractive index of Regalrez tools (panorama stitchers, photogrammetry software) should we add to
1126 is comparable to that of amber which is an important property, our toolkit for conservation documentation? Illustrated examples will
considering the translucent quality of amber objects. In the long term, demonstrate useful modifications to standard practice that can help
Regalrez 1126 does not cross-link and remains stable in a controlled ease the process of stitching photographs together, and explain several
museum environment. cautionary tales of approaches and shortcuts that did not work out.
In this case study, Regalrez 1126 was used as the recommended Rather than focusing on procedural details and proposing a one-size-
adhesive on an 18th century Chinese amber cup, which belongs to the fits-all solution, this discussion will center on what types of problems
Asian Art Collection at the MMA. The amber cup was broken into we frequently encounter and how to develop strategies for working
several pieces, and significant repairs were required for the conservation around them. Since documentation is such a key responsibility of
treatment. Amber is a natural resin with durability, but can become professional conservation practice, it’s important to recognize that
brittle and fragile after years of degradation. The edges at the breakages a flexible approach may be needed to ensure we are focusing on the
were thin and brittle, and needed consolidation prior to adhesion in bigger picture: providing useful information for now and the future.
order to avoid further damage caused by handling. Regalrez 1126
was used for initial consolidation on the breakages, and the primary
adhesive for rebonding the pieces back together. Its transparency and 49. Rutabaga: In: The Sky – Creative Solutions to
viscosity are ideal for amber objects since it does not tend to penetrate Modern Treatment Problems
through the craquelures or efface the characteristic crazing pattern of
the amber. The treatment can be easily reversed by applying petroleum Stephanie Barnes, Craig Huzway, Antje Neumann, Jia-sun Tsang
benzene to the joints, thus the process of removing residue or excess Rutabaga: In: The Sky (1978-79) by American artist McArthur Binion
with solvents should be minimized and only be done if it is necessary. (b. 1946) is an abstract minimalist work in oil stick and Dixon Wax
crayon, on a large ball-grained aluminum lithographic plate. The
piece was acquired by the Smithsonian’s National Museum of African
48. Practical Solutions to The Challenges of American History and Culture (NMAAHC) in 2014, and is currently
Documenting Large-Scale Objects on display in the Visual Arts (VA) gallery as part of the museum’s
inaugural exhibit, which opened in the fall of 2016. Before arriving
Jessica Walthew
at NMAAHC in 2014, Rutabaga: In: The Sky was damaged as a result
The challenges of documenting large objects sometimes test the limits of of an impact sustained during transit. This impact to the front of the
our space, equipment, and patience. The physical limitations imposed work left a large dent in the lithographic plate. Considering the extent
by our photography set-ups and the size and condition of the objects of the structural damage, damage to the soft crayon media was rela-
themselves constrain our ability to achieve acceptable overall photos. tively minor; however, the impact initiated the failure of the epoxy
This talk will address problems encountered during photographing and glue which secured the thin, flexible support to its aluminum strainer.
stitching photos of large objects and the practical solutions developed Conservation treatment was essential to stabilize the work in prepara-
to overcome them. It will also discuss the reasons behind the success tion for exhibit. The conservation of Binion’s Rutabaga: In: The Sky
and failure of commonly used practices. Documentation is one of the included consultation with the artist, materials testing and analysis,
universal responsibilities for conservators in all specialties, who record and the collaboration of paintings conservators, objects conservators,
a variety of information on the condition of objects, technical details, and exhibits specialists from three Smithsonian institutions. This
and treatment we perform. Along with hand-annotated sketches and collaboration allowed us to devise an innovative and creative treatment
photographs, digital technologies provide conservators with new and solution, which respects the artist’s intent, and will safely support
exciting capabilities, allowing us to stitch photos, created layered the artwork for NMAAHC’s inaugural exhibit and beyond. Many of
digital annotated documents, and make 3D models. Technical imaging McArthur Binion’s contemporaneous works employ the same materials
techniques like Reflectance Transformation Imaging (RTI) and and methods, and are therefore at risk for similar damage – The thin
multispectral imaging open up yet more possibilities. Some of these lithographic plates can be bent if not adequately supported, and the soft
techniques have been readily adopted by conservators, while others are oil and crayon media employed by the artist is vulnerable to pressure,
more difficult to implement, requiring additional training and special abrasion, heat, and can easily imbibe dirt and dust. Lessons learned
equipment. Nonetheless, conservators today face many of the same from the study and treatment of this work can be used to inform the
challenges we did when documentation was analog: digital tools and conservation - both interventive and preventive - of other works by
technologies have not (yet) eliminated the need for creative problem the artist, or those of by other artists employing similar materials and
solving in both the capture and processing phases. After establishing techniques.
some of the goals of documentation photography, the talk will work
towards an understanding of the adjustments we need to make to the
“ideal” hypothetical photography set up in order to achieve the best
results possible when working in less-than-ideal conditions. Examples
feature textiles with patterned surfaces, and three-dimensional sculp-
tures with issues of access and lighting. The problems I will focus on
relate to textiles and objects conservation, but could be equally appli-
cable to architectural documentation or large-scale paintings and paper

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50. The Sharp End of Conservation: Reintroducing 52. Alternative Methodology for Traditional
paint to a mid-nineteenth century American stained- Interventions: Loose lining in colonials paintings
glass window Damasia Gallegos, Ana Morales, Dolores González Pondal
Drew Anderson, Amanda Chau Lining treatments used in the conservation-restoration field include
A recent examination and treatment of a mid-19th century, American, several options and can be classified according to the adhesive used.
stained-glass, church window owned by The Metropolitan Museum of Traditional methods include those based on glue-starch and wax-resin,
Art presented an ideal opportunity to relook at past paint restoration while those using synthetic adhesives are considered alternative
techniques and develop an innovative alternative that not only restores methods. The appearance of new materials and mechanical equipment
aesthetic legibility, but also avoids conservation concerns that arise like the low-pressure table expanded the possibilities of intervention.
from other techniques. The relatively unknown artist of the decora- Nevertheless lining is always a structural change and an invasive
tive window, Henry E. Sharp, heavily employs stenciled designs on treatment for the paintings. This poster describes research carried out
nearly every pane. Thus, the patterns are a crucial component in how by an interdisciplinary team of conservators, historians and chemists
the window is viewed as a whole as well as understanding his style from the Centro TAREA, Instituto de Investigaciones sobre Patrimonio
and technique especially during this early period of American stained- Cultural of the Universidad Nacional de San Martín that elucidated
glass history, in which few windows were signed or dated, and many fundamental aspects of paintings from the South American colonial
were destroyed or lost. However, due to inherent vice and a lack of period, deteriorated but with an important documentary value.
protection from pollution and the elements for over 150 years, the Centro TAREA has a long tradition of restoring colonial paintings.
window suffered from severe paint loss that altered the readability of During twenty years, more than 400 paintings were treated. Tradi-
the window. Therefore, restoring aesthetic legibility was a paramount tional methods were preferred to reinforce the structure in the cases
goal of the treatment. The paint reintroduction method is based on where lining was required. The fabric weakness and the large size of
a concept and treatment by Keith Barley, in which a mixture of glass the canvas, usually demands invasive intervention in colonial paintings
paint, oil based gold size, and turpentine was brushed onto the back to guarantee the integrity of the piece. In the cases presented here,
side of a figure’s face in order to bring forth the imagery of the area that minimal intervention criteria were applied and the loose lining method
suffered from paint loss. This project’s treatment on the Sharp window used proved to be the most suitable alternative lining for these partic-
implements Barley’s concept, tests its application on a larger scale, and ular situations. The structures were reinforced employing a completely
integrates traditional glass painting, printmaking, and silk screening reversible treatment, choosing the so-called alternative lining: loose
processes. Through this innovative method, the paint is reintroduced lining. The fundamental characteristic of this procedure is its easy
in a manner that is faithful to the artist’s stencil patterns, clarifies the removal because in this system the use of adhesive, heat or humidity are
artist’s designs, is stable in an environmentally controlled interior avoided. On the other hand, in traditional lining methods, texture and
setting, and is entirely reversible. Furthermore, this alternative method color saturation of the painting usually suffer alteration. Although the
maintains the original materials and avoids possible complications of loose lining is considered an alternative treatment for particular cases,
trapped moisture or stress from additional weight that can occur with we find the possibility of re-treatability in these colonial paintings
back plating, a traditional paint reintroduction technique. Even in its meant an essential quality of this lining method.
early stages of development, this project’s paint reintroduction method
has proved overall effective in restoring aesthetic legibility and provides
a promising alternative that should be further considered and explored 53. Chinese Handscrolls: A systematic approach to
for other windows facing similar condition issues. treatment solutions for common problems
Xiangmei Gu, Grace Jan
51. Five Van Goghs At the Freer Gallery of Art and Arthur M. Sackler Gallery, Smithso-
nian Institution, Chinese handscrolls compose a large portion of the
Thomas Heller
Chinese painting collection. Exhibition rotations and scholar visits
• MANNER OF VAN GOGH PAINTING Similar to 1886 Paris generate steady demand for regular access to this large collection. The
Floral JH1135 (photo). Similar to Dutch colored sketch JH726 sheer number, size and structural complexity of these objects have
(photo). made conservation treatment a challenge for conservators. This paper
• FOUR HIDDEN PAINTINGS: 3 Described in V.G.’s letters. 1 will outline the systematic approach conservators have developed to
is signed ‘Vincent’. 1 Matches a V.G. Painting JH922. address common problems and the treatment solutions associated
• FOUR VISIBLE IN X-RAY AND PAINT X-ray photo Tracings with this part of the Chinese painting collection. Among the various
photos of four hidden scenes with letter quotes, titles, dates. formats for Chinese painting and calligraphy, which include hanging
• DISCOVERY PROCESS Brief description of research discov- scrolls, folding albums, framed images and fans, handscrolls are one
eries and dates over 5 years. of the most important. Handscrolls are a complex laminate structure,
• IMPORTANT DISCOVERIES Vincent’s First painting that composed of multiple sections of painted paper or silk supports that
he said begins his career as a painter. “ “ repetition. “ “ reuse of are joined together and lined with additional layers of paper. The
canvas. Record Five Van Gogh paintings on one canvas. Painted quality, selection and use of materials are critical to the overall balance
over Five years-half his career as a painter. “ in four locations three and long-term stability of this format. The rolled format allows a
in Holland and one in Paris. Three scenes reflect his great respect long section of painting to be easily handled, transported and stored.
for his father. A very special painting to Vincent. Although designed for convenience, repeated handling often results

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in wear and damage to handscrolls. The most common condition Jacopo Tintoretto, (2) Tintoretto’s workshop, or (3) Tintoretto’s son,
problems include, delaminating support layers, sharp creases, splits Domenico? Non-destructive analysis, including XRF-mapping and
and wear. Xiangmei Gu, senior Chinese painting conservator at the IRR, did not answer the prevailing question, but instead prompted
Freer Sackler, has successfully implemented a decision-making process further queries. A strong copper signal was detected throughout most
that adapts a range of techniques and treatment options appropriate for of the “Armor” portrait, instead of select areas as earlier hypothesized.
this diversity of issues. This decision-making process involves: (1) iden- The copper XRF signal, in combination with the mystery blue paint
tification of condition problems; (2) ranking of problems by severity visible in the conservation photographs, may indicate a reused canvas
and fragility; and (3) prioritization of solutions to stabilize and ensure or the presence of a second painting under the current painting. Several
the safety of the object. Considerations include selection and use of microscopic samples from the “Armor” portrait were examined under
appropriate materials and the history of the object format. Within this visible, ultraviolet and polarized light microscopy. Select samples were
process, the degree and severity of issues dictates whether traditional further imaged using scanning electron microscopy (SEM), allowed for
techniques of complete remounting should be used or if more conser- the elucidation of the anatomy of the painting. Recent approval by the
vative approaches, including partial remounting or minor treatment, owners of the “Senator” portrait will allow for samples to be removed
are more appropriate in circumstances when minor, localized treatment for the other Tintoretto for microscopic and spectroscopic analysis, for
may be sufficient and safer for the painting. For example, built on comparison with the “Armor” data. The paper will present the findings
fundamental mounting practices, partial remounting may include of this Tintoretto investigation, emphasizing the evidence to be culled
reusing or replacing cover silks, repairing major tears, compensating from well kept curatorial and conservation records, as well as discussing
for unevenness and imbalance in the mounting structure, flattening the information gathered from non-destructive and micro-destructive
and replacing the final backing layer. This condition assessment and analytical methods.
treatment system is effective for the management and conservation
of these repeatedly handled objects. It successfully classifies interven-
tion—minor treatment, partial or complete remounting— based on 55. Innovation of an Early Unknown Pioneer: Steam
both the handscroll’s needs and the conservator’s resources. In institu- jennies, long arms, and battle flags
tions where conservators are less familiar with traditional mounting
practices and face limited resources, this treatment system can have Ann Frisina
widespread application. An early pioneer from St. Paul, MN, Tom Welter, treated many battle
flags between 1964 and 1982. While his work is known by many
veterans in the textile conservation community, the documentation
54. Blue Period?: Analysis muddies Tintoretto of his historic private practice and his influence on modern-day tech-
attribution and working practice niques have not been examined until now.
Welter was an Army Air Corp pilot in both WWII and Korea,
Dr. Amanda J. Norbutus, Lourdes Nunez
who went on to be a sign painter and custom display specialist at
Jacopo Robusti, better known as Tintoretto, was a prominent figure Montgomery Ward’s department store. After a two-day tutorial from
in the school of Venetian Renaissance art. A contemporary of Titian, Katherine Scott in 1964, he developed a method to encapsulate battle
Tintoretto became known for pushing boundaries and creating a flags. Welter went on to use his method of consolidation for many
dichotomy of works whose quality depended upon the speed at which years. Once the treatment was completed, a flag was able to hang from
he painted. Art historians have made the life of Tintoretto easily acces- its staff for long-term exhibition.
sible with the amount of literature available, yet the limited information During the 18 years that Welter dedicated to conserving battle
gathered through scientific examination of his works by Joyce Plesters flags, he frequently used and or modified every day household items
is well documented. However, much of that work pre-dates the use of and created extraordinary one-of-a-kind equipment. Within this paper
several modern analytical methods, such as x-ray fluorescence spectros- I will review the historical equipment and machinery Welter developed
copy and XRF mapping to analyze artworks. As such, two Tintorettos during his 18year career. By examining former treatments, journal
exhibited at the Cornell Fine Arts Museum (CFAM, Winter Park, FL), notes, documentation, and actual equipment, I will show how Welter’s
“Portrait of a Gentleman in Armor” (c. 1580) and “Portrait of a Venetian treatment procedures evolved as he employed creative problem solving
Senator” (c. 1575), were analyzed to better understand which working to preserving battle flags throughout the country.
methods and materials best embodied a “Tintoretto.” Research of the
two CFAM portraits started with an in-depth analysis of the paintings’
accession history, conservation records, and various catalog entries prior 56. From Scroll to Panel and Back Again: Changing
to non-destructive x-ray fluorescence spectroscopy (XRF) and infrared formats and the challenges they pose when
reflectography (IRR) analysis. Photomicrographs from a 1990 conser- remounting Asian paintings
vation treatment raised more questions than anticipated in the initial
stages of research. In the photographs, a peculiar bright blue under Sara Ribbans
layer was visible through several areas of loss in the “Armor” portrait. This paper will discuss the examination of Asian paintings to determine
Combined with significant differences in the quality of brushstrokes if the mounting format has been changed and the questions that arise
between the two works, the curator began to question the true author- when approaching a new remounting treatment. Asian paintings
ship of the “Portrait of a Gentleman in Armor.” The investigation turned are laminate structures mounted in scroll, screen, album and panel
from an analysis of Tintoretto’s materials and methods to an attempt to formats. These structures are constructed with the intention that
better inform the curatorial staff with regards to the attribution discus- they be remounted as they age, renewing the mounting and repairing
sion: was the “Armor” portrait painted by (1) the currently attributed

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the painting as necessary. While the current practice is to preserve as or stretcher bars. Input images of paper with double-sided print can
much of the old mounting as possible, this has not always been the now be examined by volumetric tomosynthesis by capitalizing on the
case and there are many examples of paintings changing format, such improvements in the DR plates described above. We will show that
as a set of poem cards by Tawaraya Sōtatsu that are found in collec- text can be read and paper thickness measured by setting the focal
tions throughout the world mounted variously as hanging scrolls and plane to each of the two sides of the paper. These achievements are
albums. Common forms of damage specific to each format can often possible even when the paper is placed within an envelope.
be used to help determine whether a painting may have been mounted
differently in the past. Discovering these changes begs the question of
whether to return the painting to a previous mounting style or keep the 58. TMI? Non-destructive Redacting Options for
current mounting. The answer to this question is not always clear as Archival Collections
one format may be historically accurate while the other is a part of the
painting’s history. The possible approaches to this question are demon- Erin Hammeke
strated through examples of paintings in the Cleveland Museum of Various methods for redacting and restricting access to sensitive infor-
Art’s collection that have changed format. While there is no one answer mation have been employed in the fields of Law, Records Management,
that covers all cases, this paper will provide ways in which to examine and Archival Processing. Marking, stamping, or destroying originals;
Asian paintings for format changes and a starting point for discussions creating multiple marked photocopies; and restricting access are some
when considering remounting Asian paintings in other collections. of the approaches currently in use. Current practices can be wasteful,
damaging, and/or time-consuming, and are especially poor solutions
for certain types of materials. In addition, many of these methods are
57. Improvements in 2D X-Radiography and in conflict with core values of the Library and Archives Conservation
Volumetric X-Ray Tomosynthesis profession, including reversibility and providing preservation of and
access to original material. Duke University Library conservators have
Dr. Dan Boye
tested various adhesives and papers in the development of an adhesive-
Use of x-ray imaging permeates the process of art and artifact care and coated paper redacting patch that is non-destructive and reversible
conservation. As with any technology–based tool, advances in hardware in the conservation lab but not in the reading room. These Lascaux-
and software capabilities bring about refinement and expansion in coated papers are heat-activated and have been found to be effective
existing areas as well as enabling new areas of application. For instance, and easy to prepare, apply, and reverse, in the event that information
there are two main methods of radiography, Computed Radiography no longer needs redacting. Multiple case studies of collections at
(CR) and Digital Radiography (DR). Each method has practical advan- Duke that warranted alternate redaction strategies as well as housing
tages and limitations. One limitation of DR has been that conventional solutions will be discussed.
DR plates have not been sensitive to x-ray energies below 40kVp. By
incorporating new carbon fiber tops and locating low-noise electronics
away from the detection region, the detection threshold can be lowered 59. Cutting Edge Technologies in Non-invasive
to ~15kVp. The improvement in low energy detection allows us to Organic Analytical Techniques
present 2D x-ray images taken with a DR plate of laid lines, legible
text and watermarks on paper, colorants on maps, as well as changes Amanda Jones
in wood grain density and weave configurations of cloth. Possessing When studying and conserving historical objects, there are many
3-dimensional knowledge of the condition and construction of an considerations taken into account to determine necessary analyses,
object can provide the conservator with interesting and even essential especially the capability for non-invasive testing. These analyses
information. We will describe a newly available volumetric x-ray tomo- enhance the understanding of and inform treatments that successfully
synthesis technique that uses a series of 2D radiographs taken from preserve an object. The decisions for testing can be difficult when faced
different perspectives varying two degrees of angular freedom. Each with the dilemma of sampling for analysis and the ethics of preserving
radiograph contains the entire volume to be examined so no interpo- an object’s integrity. Recent advances in heritage science have focused
lation between slices is necessary as in computed axial tomography. on improving the availability and capabilities of minimally destruc-
The volume reconstruction software requires that configuration details tive, mom-destructive, or non-contact equipment for the conserva-
for each input image be known. Consequently, highly accurate and tion community, most successfully for testing inorganic materials.
precise measurements of image features can be made easily. We have Advancing the technology of equipment for studying organic materials
used the technology with a variety of sources and DR plates and have has proven to be more difficult, but newer attachments and portable
recently employed CR systems commonly found at museums and non- options are now available with comparable resolutions and spot sizes
destructive testing laboratories. Because of the relatively small amount that could prove valuable for accurately testing organic materials with
of data gathered, the user can scroll the focal plane through an object microscopic to no damage to the object. In literature, Fourier Transform
along any axis in near real time with just a typical laptop computer. Infrared Spectroscopy (FTIR) and Raman setups are the main forms
The hardware is portable so that exams can be made within an x-ray of analytical techniques used for identifying organic compounds.
vault, out on the museum floor or in the field. The software output in They have been utilized quite extensively for various media, but
the form of image stacks interfaces readily with 3D printing and virtual when identifying media on paper and parchment, spectra are often
reality technologies. At last year’s AIC conference, we showed how this swamped with peaks correlating to cellulose that make it difficult to
volumetric technique could be applied in examining the paint layers characterize any coating that might be found on the surface, including
of paintings on wood or canvas while suppressing contributions to the sizing, ink or colorant. In response to this, a study was completed to
view caused by supporting understructures in the form of cribbing test currently available non-invasive equipment to confirm they have

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the same quality of results as micro-analytical or destructive testing. information contained therein may be lost during cleaning. Residues
This study compares the Da Vinci Arm FTIR attachment and a may also hinder the application of protective coatings, so their detection
portable FTIR to a selection of standard FTIR and Raman set-ups and analysis is a key step towards a successful treatment. Using docu-
and attachments to explore the sensitivity of the chosen non-invasive mented pottery collections from the Arizona State Museum, we are
and portable techniques in order to identify and characterize types of developing a best practices methodology for chemical instrumental
coatings found on paper and parchment substrates. The samples were analysis to characterize residues left by corn and tobacco, using minimal
also analyzed to compare the efficacy of non-invasive testing of artifi- sampling or non-destructive techniques. In addition, we are focusing
cially aged samples over time and the clarity of spectra when looking on widely available techniques, including Gas Chromatography - Mass
at the degradation of paper and parchment. Samples were prepared Spectrometry, to increase the probability that our protocols will be easy
applying various coatings commonly used in different thicknesses to a to apply. By making residue analysis more straightforward, we hope
variety of paper and parchment substrate, as well as uncoated control to encourage conservators to incorporate analysis into routine treat-
samples. A selection were artificially aged and tested at predetermined ments. This analysis will simultaneously allow conservators to make
points in the aging process to monitor degradation and assess changes more informed decisions about treating an object while adding to its
in both substrate and media. archaeological record.

60. Conservation and Art Historical Data goes Digital 62. Evaluating (poly)ethylene vinyl acetate (EVA)
at the Art Institute of Chicago Adhesives for Use in Wax Conservation
Kaslyne O’Connor, Ariel Pate, Sylvie Pénichon Marina B. Gibbons
The 244 photographs that make up a portion of the Alfred Stieglitz Relatively heavy three-dimensional wax fragments, which cannot
Collection at the Art Institute of Chicago are among the treasures be consolidated due to their low porosity, have a particular need for
of the museum’s collection. Yet, unlike the equivalent collections at ethically reversible or re-treatable adhesives that are also stronger than
the National Gallery of Art or the Metropolitan Museum of Art, this natural polymers. However, the only adhesives that can be safely used
collection of photographs had never been systematically researched or on culturally modified wax blends are those which are both delivered
presented as a whole. This changed in 2016, with the launch of the and reactivated in water. This study evaluates existing approaches to
Alfred Stieglitz Collection: Photographs website (http://media.artic. repairing wax objects through conservation literature and modern case
edu/stieglitz), an innovative approach to presenting a sub-section of studies, and investigates the properties of three commercial conserva-
the museum’s holdings. Collaboration between digital, conservation tion (poly)ethylene vinyl acetate (EVA) adhesives in order to gauge
and curatorial departments resulted in a user-friendly website that their suitability for use in new treatment methods. The water-reversible
presents information at levels meant to appeal to multiple audiences. EVAs in this study are Evasol by Book Restorations, EVA Neutral pH
For the casual browser, quick but scholarly definitions of relevant by University Products, and the formulation of Evacon-R™ by Conser-
artists, processes, journals, and galleries related to the photographs vation By Design that was discontinued in 2014. Their suitability
provide basic context. For researchers, and those interested in learning for use in collections is investigated through the ‘Oddy’ accelerated
more, links to exhibition catalogues, similar prints, and even prints ageing test as well as a newer experimental method of measuring atmo-
from the same negatives in other institution’s collections offer art spheric yellowing through nitrogen oxide exposure, pH testing, and
historical resources. Detailed material and elemental analysis of 44 compositional analysis with Fourier-transform infrared spectroscopy
prints presented in specially designed PDFs (including results of XRF (FTIR). The adhesives’ ageing properties appear to be linked to their
spectrometry, IR photography, FTIR spectrometry and UV radiation trace biocidal components. The instability of bronopol is identified
induced visible fluorescence) offers an invaluable resource for conserva- as a particular problem for Evacon-R™ and, to a lesser extent, EVA
tors and conservation scientists interested in Pictorialist photography. Neutral pH. Following the results of these tests, Evasol was success-
All of this was built using a modified WordPress template, utilizing fully used in repairing a series of wax portraits at the Royal Albert
that platform’s intuitive content management system to allow for Memorial Museum (RAMM) in Exeter. Future proposed directions
easy uploading and updating of the data and images. As a poster, for wax conservation methods include the continued investigation of
this presentation will address the unique intersection of art history, EVA-starch paste blends.
conservation and digital experience that this project demonstrates, and
hopefully inspire others to think closely about how to make
63. Impact of Airborne Mycobiota on the
Biodeterioration of Materials and Human Health in
61. Corn and Tobacco Residue: Development of Three Cuban Heritage Institutions
protocol for sampling and analysis
Sofía Borrego Alonso, Oderlaise Valdés Pérez, Alian Molina Veloso
Wendy Lindsey, Dr. Nancy Odegaard
Biodeterioration of cultural heritage is enhanced in tropical climates
Residues found on an archaeological object may contain crucial clues by the high temperatures (T) and relative humidity (RH) during most
to the object’s use in antiquity. However, thorough residue analysis of the year. In some Cuban heritage institutions, the ventilation or
is often difficult, due to confounding contamination or a lack of air conditioning is ineffective there is overcrowding and high levels
access to instrumentation and analytical protocols. Therefore, residue of dust are accumulated favoring the presence of high concentrations
analysis often falls outside the scope of conservation treatments, so the of airborne microorganisms. By its effective dispersal mechanisms,

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wide metabolic versatility and adaptability, anemophilous fungi are executed by Sir Peter Lely in 1674, the work is dated to 1684 and
the main agents causing alterations and damage to the Cuban docu- measures approximately five feet in width and nearly eight feet in
mental and museological heritage. The affectations and its intensities height. Small tests indicated that varnish removal using solvent on
on the materials depend on the groups or species that colonize it, cotton swabs was problematic due to the thickness and polarity of
the characteristics of the substrate and environmental conditions. the aged natural resin coatings, necessitating prolonged swabbing
Also, numerous studies have established a close relationship between with polar solvents. Additionally, the paint appeared abraded and was
environmental conditions, the presence of anemophilous fungi and underbound, likely due to past overcleaning, raising the concern that
their impact on the occurrence of allergic illnesses. Aerobiological protracted mechanical action would pick up pigment. As a result, an
studies in heritage institutions let to determine the fungal taxa with alternative method of varnish removal was sought. While the use of
higher biodeteriogenic and pathogenic potential in the environment, solvent gels was considered, efforts focused instead on developing a
important issues for preventive conservation strategies and quality of technique to poultice the varnish using Evolon® CR, reducing the need
life of staff. Therefore, the aims were: i) to evaluate the concentra- for additional mechanical action to remove gel residues. Although
tion and diversity of airborne mycobiota in three Cuban heritage initial tests with small squares of the fabric saturated with solvent
institutions (one museum and two archives), ii) to characterize the were found to be successful, a number of issues were encountered
biodeteriogenic and pathogenic capabilities of the isolates. The air when attempting to scale up. Experimentation sought to optimize a
samples were taken inside and outside repositories of three heritage number of factors, including: the dimensions of Evolon® CR used; the
buildings located in Old Havana municipality (Havana city) using a means of saturating the fabric with solvent; the method of placement;
biocolector. Two repositories were acclimatized while the other was and the duration of application. A strategy was developed to limit
cross-ventilated natural system. The ecological criteria relative density solvent leaching and increase the precision of placement, delivering
(RD) and relative frequency (RF) were determined. In the isolated solvent to a targeted area with large squares or custom-cut shapes of
strains cellulolytic, amylolytic, proteolytic activity and excretion Evolon® CR up to 6 inches square in size. In addition to describing
of pigments and organic acids were determined qualitatively, as the optimized technique, this poster will discuss the theoretical advan-
well as the ability to grow at 37oC and toxins secretion. The fungal tages and disadvantages of the Evolon® CR method as well as provide
concentrations in repositories did not exceed the 250 CFU/m3 which context. Poulticing varnish in this manner will be compared with the
were positively correlated with RH (p≤0.05). However, the museum use of solvent gels and with the tissue gel composite cleaning method
repository showed the highest concentrations and RH, such issues published by Fife et al. at the Stichting Restauratie Atelier Limburg
suggest a close relationship between the two variables. Twenty-two (SRAL) in 2011. It is hoped that publishing this case study will aid
genera and three mycelia nonsporulating were detected; this is paintings conservators facing similar issues during treatment and
evidence of fungal diversity in these ecosystems. Genera Aspergillus, inspire additional discussion regarding this method.
Cladosporium and Penici¬llium were predominated according to
RF, its RD in each repository were related to ventilation and dust
accumulation. The 82% of isolates showed high ability to degrade the 65. Elucidating Daguerreotype Degradation Through
organic compounds evaluated, excreting acids and pigments, which Surface Species Formation Using Localized Surface
showed its broad biodeteriogenic potential while 40% were able to Plasmon Resonance Spectroscopy
grow at 37°C and secrete toxins, for that reason they can be classified
as dangerous opportunistic human pathogens. The most dangerous Silvia A. Centeno, Andrea E. Schlather
strains for materials and staff health according to in vitro assays corre- The nanostructured silver-mercury or silver-mercury-gold daguerreo-
sponded to Aspergillus spp. type image is particularly reactive and prone to degradation by
tarnishing, oxidation, and photodamage.(1–3) Treatment protocols
to reverse existing signs of degradation have all but halted, as many
64. The Evolution of a Method: Optimizing the Use
historical efforts to clean daguerreotypes have been shown to promote
of Evolon® CR to Poultice Varnish on a Large Scale further damage.(3,4) Conservation efforts are complicated by a lack of
Kari Rayner understanding of the composition and reactivity of the nanostructured
surface that forms the daguerreotype image. Numerous studies over
It is not uncommon for conservators of cultural heritage to encounter the past few decades have identified various surface species and have
issues with scaling up a technique during treatment: testing a method partially elucidated the mechanisms by which they react;(4,5) however,
in a small area seems to be successful, only to find that unexpected many questions remain unanswered. Using angle-dependent scattering
challenges may arise when applying this technique to an entire spectroscopy, we have developed a protocol to measure nanoscale
artwork. In such instances, it is valuable to be aware of the alterations changes of the daguerreotype surface using the localized surface
or modifications one may make to a method to suit the requirements plasmon resonance (LSPR) of the Ag/Hg image particles, which are
of a specific treatment. To this end, this poster describes the experi- extremely sensitive to changes in their composition and dielectric
mentation undertaken to optimize varnish removal from a painting environment. Studying spectral shifts in the LSPR of the image
on a large scale using Evolon® CR, an absorbent fabric composed of particles upon controlled exposure to environmental elements such as
synthetic microfilament. This treatment was completed in the spring humidity, oxygen, chlorine, and sulfur provides further insight into
of 2016 during a post-graduate internship at the Hamilton Kerr image deterioration occurring from surface reactions. This method has
Institute of the Fitzwilliam Museum, University of Cambridge, UK. been combined with other spectroscopic methods, such as Fourier-
The painting in question, The Duke of York, is part of the collec- transform infrared spectroscopy (FTIR) and surface-enhanced Raman
tion of The Honorable Society of The Middle Temple in London. spectroscopy (SERS) to offer a more complete view of daguerreotype
Attributed to John Riley and recognized as a copy after a painting

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degradation at the nanoscale level. Until we have a comprehensive included a new approach on the restoration of the Argentinian textile
understanding of how daguerreotypes interact with their environment, patrimony: the complete documentation process of the textile, their
these images remain in peril of irreversible damage. analysis, consolidation with stitches and new exhibition systems based
References on the use of conservation materials on inclined surfaces in order
1. Marquis, E. A., Chen, Y., Kohanek, J., Dong, Y. & Centeno, S. A. to reduce the mechanical and physical damage on extremely fragile
Exposing the sub-surface of historical daguerreotypes and the effects of sulfur- textiles, aiming to achieve a unified exhibition criteria.
induced corrosion. Corros. Sci. 94, 438–444 (2015).
2. Centeno, S. A., Schulte, F., Kennedy, N. W. & Schrott, A. G. The
formation of chlorine-induced alterations in daguerreotype image particles: a 67. Initial Treatment Techniques for Japanese
high resolution SEM-EDS study. Appl. Phys. A 105, 55–63 (2011).
3. Ravines, P., Wiegandt, R. & Wichern, C. M. Surface characterisation of Lacquer-based Metallic Thread and Cut Paper
daguerreotypes with the optical metrological technique of confocal micros- Appliqué
copy. Surf. Eng. 24, 138–146 (2008).
4. Da Silva, E., Robinson, M., Evans, C., Pejović-Milić, A. & Heyd, D. Elinor Dei Tos Pironti
V. Monitoring the photographic process, degradation and restoration of
This poster addresses an urushi (Japanese lacquer) based metallic
21st century Daguerreotypes by wavelength-dispersive X-ray fluorescence
spectrometry. J. Anal. At. Spectrom. 25, 654 (2010).
thread that was used on an embroidered Japanese, early to mid-Edo
5. Centeno, S. A., Meller, T., Kennedy, N. & Wypyski, M. The daguerreo- period Nō Theater Chōken. There were five motifs, each a variation of
type surface as a SERS substrate: characterization of image deterioration a naturalistically depicted spray of flowers set in a vase. The couched
in plates from the 19th century studio of Southworth & Hawes. J. Raman metallic thread was used to outline each of the five vase shapes, two
Spectrosc. 39, 914–921 (2008). insect bodies and their antennas which alone appear on the center back
motif, and the four butterflies which are on the lower edge of the front
and back body panel.
66. National Argentinian Flags, the Bicentennial and *The couched metallic thread was originally made by usingurushias
the Change of Criteria Regarding Conservation an adhesive which bound a metal foil to a paper substrate; the paper
was then cut into narrow strips and wound around a silk core. *These
Maria Sol Barcalde, Patricia Lissa, Ivana Rigacci metallic threads suffered from severe surface flaking. No prior docu-
Between the years 2010 and 2016, on the occasion of the Bicentennial mented stabilization methods for this type of urushi based metallic
of the American Revolutions and the Independence Wars in Argentina, thread was found in conservation literature or in additional readings.
projects regarding the conservation of the historical collections of our *Testing was done to establish that the adhesive was most certainly
patrimony were carried out. Amongst them special attention was given urushi, and the concept of using like materials to stabilize like materials
to historical flags and banners. They are distinctive of the identity of was the basis for my choice of urushi. Synthetic adhesives posed a
the new national revolutionary armies and represent an important greater potential for unforeseen long term, incompatibility problems
historical document from the XIX century. Changes in the interven- and hence were not used. *The stabilization method was developed
tion and the exhibition of the vexilological textile patrimony of the by contacting someone in New York City who gives workshops using
country started. Historically, the Argentinian museums collected urushi to repair broken ceramics, including at the Metropolitan
Spanish flags taken as war trophies and the flags created in the country Museum of Art. This was Gen Saratani. Even though he was not
by the local regiments. Their intervention was carried out until the familiar with textiles in general, he showed me some simple steps as
late XX century by conservators of other materialities such as paper or to how to use urushi and how to control the specifically needed levels
paintings, the result being restorations with methodologies similar to of humidity. Skin protection is necessary as urushi is related to poison
the ones employed with these types of materials. This process meant a ivy. I was also able to procure from Gen a small amount of two types
consolidation with organic adhesives on materials such as cardboard, of urushi to test for my project. *The rudimentary stabilization method
paper or other textile support, turning them into flat rigid pieces. used in the treatment of these metallic threads is the topic of this poster.
Although in many cases this procedure was effective compared to
no intervention at all, and numerous flags owe their survival to these
sometimes irreversible interventions, we currently prefer less invasive, 68. Hey Jute: A new approach to visual compensation
more reversible methods, with more compatible materials, based in for hooked rugs
the use of conservation stitches. The same concept was applied to
Kirsten Schoonmaker
their exhibition; they were exhibited as pictures, tautened vertically,
sometimes nailed and framed, or folded inside small wooden and This paper describes a new approach to visual compensation for hooked
glass cases, thus generating several damages and with no regard for rugs, developed during the treatment of Molly Nye Tobey’s 1942
illumination or environmental controls. The present work describes Victory Garden rug. Now in the collection of the Shelburne Museum,
the valuing through the intervention and changes in the display of this 40” x 147” hooked rug was exhibited at the 1942 Women’s Inter-
the most emblematic flags of our history during these last 6 years, all national Exposition of Arts and Industries, where it was awarded first
made of silk, including the first flags of the national armies dated 1813, prize and the Grand Award for its design. The enthusiastic response to
called “Banderas de Macha” (Macha is a place in Bolivia). These sibling the rug’s design prompted Tobey to begin her Statehood series of fifty
textiles are currently located in Argentinian and Bolivian territory and hooked rugs, also in the collection of the Shelburne Museum. Like
gave birth to an international cooperative project between both nations many hooked rugs in the collection of the Shelburne Museum, the jute
for the restoration of the flags with the addition of a training course for ground of this seminal large scale rug is brittle with losses of both pile
Bolivian conservators in the city of Sucre, Bolivia. The interventions and ground throughout. Previous repairs of these losses, including flat

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patches and hooked inserts, were failing and posed two major conser- optimal so that it lasts by more time in appropriate conditions. The
vation challenges: First, they were visually distracting, often making museums have the obligation of care for the works of art that are low
use of textures and colors foreign to the initial composition. More its custody, likewise is important instruct to our young in the value that
importantly, these repairs were structurally damaging, exacerbating implies a work of art, as is its value historical and artistic. The country
existing weakness in the jute ground and accelerating the loss of pile. can tell its history through the works and this is the area that needs
Building on previously published techniques using polyester felt fills, most awareness in people. If we can educate people from an early age
a method for visual compensation was developed that utilized cut and in the importance of culture in each country, we can get institutions
sculpted densely needled felt, colored with textile paints, to mimic the more importance and support; many times, museums are forgotten or
worn shapes and varying tonalities of the pile elements adjacent to the left last in the list of priorities of a Government plan. Currently at the
losses. This poster will include a discussion of Tobey’s chosen materials, Museo de Arte de El Salvador (MARTE), we use several methods to
review alternative methods of visual compensation for hooked rugs, help for the art works conservation that are found in the exhibit areas
and conclude with an evaluation of the efficacy of this treatment. as in the deposit: one is the temperature measurement, the average
handles 25°C (+ or - 3°C); another measurement that is performed is
the relative humidity of the environment, which has an average of 52%
69. Conservation and Restoration Strategies of Rare (+ or - 3%); we have lighting control in the exhibit areas. As well we do
and Large Historical Carpet a periodic surface cleaning of works of art.

Prof Dr. Harby E. Ahmed

The paper presents strategies for the conservation restoration of 71. What Happened to Them? Preliminary
historical carpet in Egypt that have been in uncontrolled storage and approaches from conservation discipline in cases
display. The historical carpet (370 x 580 cm) is highly decorated with of human rights violations during the military
flowers and leaves and geometric decorations; it is multicolored with dictatorship in Chile
red, blue, green and yellow and dates to the Ottoman period. The
carpet has various types of deterioration such as loss in parts, many Daniela Bracchitta, Iván Cáceres, Kenneth Jensen, María José
separate parts from the edges, stains, and dirt. An examination and Manneschi, Roxana Seguel
analysis of the historical carpet was undertaken in order to develop a
September 11, 1973. The President Salvador Allende is overthrown
plan of conservation treatment. FTIR was used to identify the kinds
in a coup d’état and the military dictatorship is installed in Chile.
of dyes and organic stains, and XR-D was used to identify mordants
For 17 years, the country faced repression practices and violations
and dust. Light microscope and SEM were used to identify the kind of
of human rights that still have not been completely quantified. The
fibers, their condition and surface morphology. The effects of cleaning
official numbers of the Valech report (2011) figured 40,280 cases of
materials on the natural dyes were tested. Dry cleaning was used to
voluntary testimony which were proved as a political prison, death
remove resistance stain and dirt. Temporary cleaning bath was estab-
and torture crimes. In addition, some 200,000 people suffered exile
lished by the researcher. Add to this, the processes of fixing pieces on
and an unknown number went through clandestine centers and illegal
new linen fabrics as a preparation for displaying or storage in museum.
detention. Of the recognized numbers, 3,065 had been dead and
The method of exhibition will be discussed. Photographs are included
missing. Many of them were kidnapped or escorted by soldiers and
to document the conservation process.
were not seen again. Is that so, as the question stuck in the collec-
tive memory for more than 40 years has been... and where are they?
70. Preserving the Art Works Leaders and perpetrators of these unconfessed crimes are dying in
silence, and many families are still asking the same question. That
Aida Marcela Avalos de Cerna is why in scheduled excavations or finding within the framework of
possible missing detainees, the great goal pursued is to identify the
The theme to treat in this annual meeting is very important for the
victims. However, accomplishing this goal creates a new question...
museums, because preserving the art works the best way possible is
what happened to them?
always the goal to achieve; the best decision for an art work is never do
This presentation aims to provide a preliminary account for a
a restoration of a piece unless the situation warrants it and is unavoid-
conservation expertise for clothing of two political executed. This is
able to achieve its conservation over time. It is important to know
an ongoing case and it is carried out by a multidisciplinary team of
new ways of preserving a work of art, since there is an exchange of
archaeologists and physical anthropologists, as well as professionals
institutions, our knowledge could grow about the ways in which other
from the Legal Medical Service of Santiago. The conservation area was
institutions work, and thus applied to our Museum if it works best way
requested with the purpose to detect any alterations in textiles that
to the method of preservation is used, either it can be included within
provide useful information to clarify the circumstances of the inves-
the conservation system. The importance of keeping a collection, is
tigated deaths. We used the methodology designed by the laboratory
given by the need of leave a historical and cultural legacy to the new
for archaeological textiles studies and the theoretical framework was a
generations of each country and of course to the world; there is the
systemic understanding of the formation processes of an archaeological
need of go innovating to be more diligent in the care of the art works
site. Extrinsic/intrinsic factors/agents of deterioration/preservation
and not leave it as a need secondary to consider within the institution
were reviewed to be linked to the alteration effects on clothing. At the
that custody a collection. In the case of El Salvador, our society needs
same time, the forensic reports, autopsy, and testimonial descriptions
to learn about the value that has the culture areas, because lately is the
were used to contrast the consistency of the observed. On the other
area that is leaves more unprotected and vulnerable, since not is seen as
hand, analysis to samples of fibers and other “not identified” elements
a primary need; works of art need and should be retained as the most

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were carried out by optical microscopy and FTIR, in order to comple- 73. Conservation of Showed Pieces at Museums of
ment the hypothesis about the alteration processes. Historian Office of Havana
To date, results indicate some discrepancy between the evidence
(or lack of evidence) observed in clothing considering facts and burial Joyce Hidalgo-Gato Barreiro
context, but unfortunately it will be difficult to establish specific
The Conservation scientific literature deals mostly with objects in
hypothesis regarding this last subject. Reflecting what was referred in
storage. Those on permanent exhibition, in contact with visitors and
the first paragraph, these excavations pointed to identify the victims,
exposed to environmental damage, do not receive the same attention
therefore times for digging are short and focused to that goal, and the
by researchers who study and take care of collections in museums.
background of formation and transformation process of the site, most
Most museums under the Office of the Historian of Havana are housed
of the time are dismissed, especially if the sites had been considered as a
in buildings of heritage value, built between the 16th and the 19th
disturbed area. However, this presentation also intends to suggest what
centuries. Those buildings have very large doors and windows, lucetas
variables are required to consider in-situ despite the disturbance of the
(a kind of window over the doors), wide walls with mural paintings,
site in order to achieve an accurate conservation diagnosis—further on
plaster ornaments and wood ceilings, among other characteristics. As
a reasonable doubt—and helps to discover what happened to them,
a result of the insular condition of Cuba and the materials present in
especially because evidence can disagree with the expected.
the fabric of these buildings, there is the inevitably presence of high
levels of Relative Humidity and Temperature, and some other factors
72. Best Practices, Creative Problem Solving and like high levels of natural light and the presence of biological agents.
The technology available when the Museums exhibitions were opened
Balancing Compromises in Conservation Treatments in the 70’s, depended on display cabinets made of wood and common
Elizabeth Curran Boody glass, which additionally integrated the exhibition with the building
characteristics, according to the museographic criteria of the period.
This poster will outline the challenges of conservation treatment for The factors mentioned above, affect not only the display cabinets them-
material used in an active Special Collections Library highlighting selves, but also the objects on display. This study proposes a new kind
specific examples of successful outcomes to challenging projects. One of display cabinets made with environmental agents resistant materials
of the major focuses of the Special Collections Library at Dartmouth that provide protection to objects, not only from anthropomorphic
College Library is to encourage active use of its collections, especially damages, but also from those caused by biological agents. The avail-
by faculty bringing classes into the library. Last year over 400 classes ability of new materials, access to new technologies and international
came to the library to study primary sources. In addition to class use, museographic trends make this possible. The design versatility of the
the library is open to the entire community and outside researchers. new display cabinets, include the requirements of any museological
With this high use and open door policy the collections are accessed guide and offer a wide range of museographic solutions. The author
more than a typical restrictive graduate library might. Therefore, in designed a new type of display cabinet as a part of a new museographic
order to find a sensible treatment, we must strike a balance with the project for the Archeological Museum, now in a restoration process,
ethics of conservation, the best treatment for the object itself, and located in the Historical Center of Old Havana.
the reality that it may be used by a patron who might not be aware
of how to handle rare or fragile materials. This can render our job as
conservators to be quite challenging at times. In creating a treatment 74. The Development and Testing of Gel Cleaning
proposal for these objects, and thinking about overall collection care, Systems for Cleaning Inorganic Supports in
Conservation staff engage in a dialogue with the Special Collections
Argentina, Curazao, and the Dominican Republic
staff to arrive at a consensus of the best treatment plan and answer
the important question that steers the boat of Conservation: “How is Giselle Canosa, Ruahidy Lombart, Viviana Dominguez
this object being used?” An example of an object that we have found
a satisfactory solution for is our first edition of The Book of Mormon. The re-formulation of cleaning gels for the removal of dirt and salts
Founder Joseph Smith was born locally and many Latter Day Saints from tile project is based on the comparable results of three profes-
come to visit the area, and are drawn to view and behold a first sionals based on three different countries. The cooperative project is
edition copy of this important book. Because this object is frequently carried out not only based on the grounds of measuring results of an
requested and handled by all kinds of patrons (it actually never returns improved traditional cleaning systems but also on the need of synergy
to the stacks due to how regularly it is viewed), it has been placed in a among the professional of nations in Southamerica and The Carrib-
box with a built-in cradle to provide a restricted opening and to signal bean. The authors are committed to add prospectives, bridge distances
to the patron the care and attention this item deserves. Other objects and as a result open new opportunities in our field.
in the collection with more or less successful treatments have been a The agreement for this project arises from numerous discus-
collection of large Edward Curtis photograph books with crumpled sions undertaken within the framework of the celebration of the
interleaving due to frequent usage. We decided to put new interleaving First Congress of preservation—ApoyOnline—held in the city of
for the purpose of protecting the photos and remaining aesthetically Medellin, Colombia. The starting point of the project is the research
true to the original format. A less successful example would be a being undertaken by Conservator Giselle Canosa in Argentina on
foldout color plate from the anatomy book Suite de l’Essai d’anatomie re-formulating gel cleaning to improve performance. The system will
en tableaux imprimés illustrated by Gautier d’Agoty that was fitted be tested within the next five months by Mural Conservators Ruahidy
with linen and paper tabs make the page removable, but has proven to Lombart in Santo Domingo in the Dominican Republic and Viviana
be a challenge for students to manage. Dominguez in Willemstad in the island of Curacao. Paul Giudicelli’s
tile murals, from 1959/61, are located in the Dominican Republic

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an island with torrid rains and high humidity while Charles Eyck 76. Replacement of Toxic Solvents: A practical
tile mural from 1960 is located on the dry island of Curazao. In approach for art conservation studios
Buenos Aires, Argentina, the gels will be tested on two tile murals by
Alfredo Guido that were produced by Cataneo and Company in 1938 Luciana Murcia
and are located on the city’s subway. In addition, the team intends
Historically, several solvents have been and continue to be used in
to explore network communication as a means for collaborative
conservation studios for different kinds of procedures, such as varnish
exchange, transfers of experiences allow them to obtain initial data
cleaning, in painting removal, dilution for commercial pigments used
on color characteristics, surface absorption, composition, among
in retouching, among others. The most common solvents used in
others. This will enable the unification of methods of intervention
these procedures are based on aliphatic and aromatic hydrocarbons,
and thus elucidate their relative effectiveness, making comparisons of
the latter having the most harmful health effects due to their high
the results arising from the intervention methodology Through this
toxicity. A solvent’s ability to remove a given compound by dissolving
project the professionals look to develop a methodology into concrete
it depends mostly on its polarity. In order to achieve the appropriate
practices in applying a cleaning system with non-traditional gels
polarity, both solvent solutions types (aliphatic and aromatic) and
used on inorganic supports located in three dissimilar environmental
their derivatives are used depending on the substance to be dissolved.
conditions. The conservators also seek to ascertain the reactions that
There are currently certain products and solvent mixes (Shellsol,
they can experience and compare similarities and differences in the
Arosol, White Spirit) sold around the world that replace, in some
results. This pilot project intends to not only address the development
cases, the more toxic kind of solvents. In Latin America, however,
of our cultural heritage but also to improve relationships with our
they are either unavailable or sold at very high prices. Therefore, many
colleagues that can use this working format.
conservators still use solutions that are high in toxic solvents (toluene,
xylene, turpentine), as they are the widest-known and most easily
75. Expanded Descriptive Terminology for available in the market. The aim of this research is to replace the more
toxic common solvents with organic solvents dissolutions that are far
Contemporary Collages less toxic yet equally effective and easily accessible in the local market.
Stephanie Lussier, Michal Mikesell Solutions were developed based on paraffin and cyclic saturated open-
chain hydrocarbons that are less toxic than aromatic and high-toxicity,
This poster discusses guidelines for consistent descriptions of contem- non-aromatic ones commonly used. Paraffin hydrocarbons were
porary collages. Unlike historical collages, where cut or torn paper is chosen for study based on their polarity as well as their maximum
adhered in layers to create a two-dimensional work, contemporary acceptable concentrations (MAC) as per international standards. The
collages created since the 1960’s incorporate a greater variety of dilution of commercial pigments for retouching and varnish removal
materials and construction methods. Building on the vocabulary and were used as reference, being common practices in conservation
syntax established by “Descriptive Terminology for Works of Art on studios and both requiring the use of solvents. Tests were conducted
Paper: Guidelines for the Accurate and Consistent Description of the using different varnishes and commercial pigments for retouching to
Materials and Techniques of Drawings, Prints, and Collages” (Ash, assess the effectiveness of the solutions and draw conclusions, placing
Homolka, Lussier, 2014) this poster expands on the existing guide- particular emphasis on analyzing both natural and synthetic resins.
lines, which provide general descriptive language for collage materials Tests reveal that, even though no mix proved to be effective in all
and a hierarchical structure that guides word order, by providing cases, simple paraffin hydrocarbon mixes and minimum aromatic
a system for describing the construction of these complex works of hydrocarbon concentrations can lead to effective solutions in both
art. This expanded system was informed by the assessment, selected procedures under analysis, with a significant reduction of toxicity
analysis and treatment of nearly two hundred collage works, dated posing no risks to the works of art being restored. We also demon-
from 1913 to 2000, in the collection of the Hirshhorn Museum and strated that the commercial solvents analyzed are not reliable when it
Sculpture Garden. The terminology allows for the inclusion of support comes to reducing toxicity, as manufacturers fail to reveal their specific
materials, media, and construction methods based on observations of composition in the Product Safety Data Sheets and actual percentage
contemporary collage examples. Consideration is given to attachment of toxic solvents used in their mixes. Using lower toxicity solvents is
methods such as local vs. overall attachment, mechanical systems such not only beneficial to the conservator but also to the environment,
as staples, overall coatings, and the use of adhesive layers as distinct which is why it is important to find affordable and easily available
design elements. Materials, such as tapes and staples, are also consid- substitutes to eliminate such toxic substances from conservation
ered with respect to their aesthetic (design elements), as well as func- studios.
tional (attachment method), roles. Several examples including unique
cases such as when paint media is used as an adhesive are presented.
The goal of this expansion of the descriptive terminology is to provide 77. Microorganisms Inhabiting our Collections
increased understanding of collage fabrication when communicating
the materials and methods of contemporary collage works. A. Echávez, J.D. Dorado, Maria Camila Patiño, John Simmons
The Military University Nueva Granada is working on the consolida-
tion of a “Campus Ecomuseum” that seeks to integrate natural heritage
and diverse collections in their care. Among these collections, we can
find the National Museum of Telecommunications with objects such
as telephones, television sets, radios, telegraph equipment, books,
record players, and an audiovisual collection with vinyl records,

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photographs, slides, 8mm films, VHS, Betamax, among others. In the room housing the Bibliographic and Malacological collections was
field of art, there are two- and three-dimensional works distributed measured. Environmental monitoring has been proposed as the best
in the Campus made with different techniques and available to the strategy for preservation and conservation of collections and museums.
public. The University’s Science laboratories keep the Natural History The comprehensive study of the collection and environment provides
collections including the herbarium, mollusks, insects and vertebrate the best solution in Conservation Plans and restoration of historical
collections. This study aims to explore the microbial diversity living and material of heritage value.
in our collections, through the isolation and identification of micro-
organisms that may be potential agents of deterioration, changing
the structure and stability of the materials by enzymatic reactions and 79. Project for Training Preservation and Historic
metabolites production that cause chemical and structural damage. Services Staff for Historic and Heritage Buildings
The results of this study showed the relationship between the micro-
organisms isolated from the materials and from the storage or display Giselle Canosa, Alba Pereiro, Maria Pia Tamborini
environment. The final product is a visual guide that shows biodiversity One of the most frequent problems in the damage of historic objects
inhabiting our collections at the microbial level, as tool for diagnosis is caused by poor handling by the maintenance staff once the restora-
and conservation. tion is finished and the value of the heritage is enhanced. The lack
of a common language between the two parties, conservators and
maintenance people, contributes to the problem. The Training Pres-
78. Preservation and Conservation of Pablo ervation Assistants Program provides the necessary tools to teach
Neruda Collection: Intrinsic and environmental General Services Staff at Heritage Buildings so that they can work as
considerations assistants in this field. The project seeks to offer simple but practical
information and basic training. The attendees will be introduced to
Yerko Andrés Quitral the basic notions for the preservation of Heritage Buildings’ materials
The “Neruda Collection” belonging to the Central Archive Andres as well as to the actual preservation criteria and daily maintenance of
Bello of the University of Chile, is a personal collection of the the organizations that keep and safeguard the works of art. Thus, they
Literature Nobel Prize Ricardo Neftali Reyes, known as Pablo Neruda will be able to recognize the general aspects of the different supports
(1904-1973). The donation to the University of Chile was made while and the causes of their deterioration. They will be educated on the
he was alive and was declared a historical monument by the National importance of the implementation of maintenance protocols for and
Monuments Council of Chile in 2009. According to its materiality, the their application for preservation. Finally, the students will be trained
collection has been divided into: Bibliographic Section (4,961 volumes in rescue procedures in emergency preparedness and recover planning
of books), Malacological Section (7,784 conch shells specimens), in case of a disaster. The project consists of two curricular designs inde-
Hemerographic Section (263 magazine titles), and a Sound Section pendent from each other. The first is oriented towards a formal and
(155 recordings). The topics covered in the literature section are from vast training in which the assistant will be presented with the principals
the countries where he served as ambassador (China, Mexico and of conservation and advanced knowledge of constitution materials,
France, etc.), works of Latin American poets from the colonial and adequate handling of objects when performing daily maintenance
republican period, natural history books and dedicated books. The tasks, basic notions of chemistry for understanding the products to
mollusks were collected from Chile, Latin America, Asia and Oceania. apply in the daily preservation and the making of a cleaning and daily
The magazines reflect Neruda’s political interests and social activity. maintenance protocol. Finally, the students will be trained in rescue
Finally, the sound section represents his personal musical preferences. procedures in emergency preparedness and recover planning in case of
The Neruda Collection has always been a priority. We began working a disaster. The curriculum comprises 160 teaching hours to learn about
with the bibliographic section of the collection and a conservation the various materials composing the historic building and its objects,
survey was carried out on the material: number of copies, oxidation including furniture, molding among others. The second curriculum
state, tears, microbiological contamination and insects, among others. is designed for training the staff in the basic notions of preservation
In a second stage, restoration treatments were completed, with for its immediate implementation. This curricular design stresses or
particular emphasis on books contaminated with fungi and books with highlights the importance of receiving a higher and more extensive
specific deterioration processes. In the preservation process a number instruction and will only be given as training without formal certifi-
of fungal infections were detected in the room housing the collection cation. Sponsored by the Argentine Association of Conservators and
in the Central Archive Andres Bello, as well as in the conservation Restorers (ASACOR), participants in this program will receive formal
/ restoration laboratory of the Archive. One of the most effective certification issued by the Argentine Ministry of Labor. Through the
methods for the conservation of large holdings, as this collection, is certification from the Ministry of Labour, our intention is to make this
the environmental control on the different deposits. It is the most training mandatory to perform such activities in heritage buildings,
effective from the point of view of economics and the conservation as well as providing this training both nationally and internationally.
of the documents. Microorganisms do not proliferate when the air is During the 1 Regional Conference organized by ApoyOnline, held
moving and low relative humidity and temperature are constant. Both in Medellin, our colleagues expressed their interest in our program as
temperature (T °> 20 ° C) and relative humidity (% RH> 60%) foster they confront the same type of problems on their institution. For this
all deterioration reactions, causing fungal growth and pest prolifera- reason, our program is ready to provide international training.
tion. Based on these criteria we evaluated the fungal diversity present in
the Bibliographic Section and the degree of biological degradation of all
the books. In addition, environmental temperature (T ° C) and Relative
Humidity (%) were recorded and the environmental bioburden in the

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80. Bedbugs: A pesky problem conservation, preservation and restoration of books and documents.
This year, we celebrated 7 years offering different activities, with a
Meredith Wilcox-Levine total of 10 specialists from around the world, including United States,
Insect infestations in and around ethnographic and historic objects Argentina, Chile, Ecuador, Mexico, and Uruguay, with 17 conferences
have long been an issue for conservators. In museum and private given and 20 workshops of different specialties. The conferences and
collections pests have severely damaged historic and artistic textiles. some workshops can be found in the video recording at newmedia.
The main culprits, webbing moths and carpet beetles, consume protein ufm.edu, with free access. The event includes lectures open to the
fibers, damaging wool and silk pieces in varying degrees. Unfortu- public and workshops of different themes. The principal objective is to
nately, as a result of pesticide resistance and other factors, bedbugs have focus on Guatemalans and Central Americans, promoting knowledge
been added to the list of pests infecting objects treated by conservators on conservation, preservation and restoration of paper materials, to
in the last few years. Once considered only a problem in run-down, conservators, rest orators, collectors, booksellers, archivists, museolo-
unhygienic housing, bedbug (Cimex lectularius) infestations have gists, librarians, and public in general, to encourage and teach them
“undergone a resurgence in pest status and can now be found even in about paper care and good handling of books and documents, and for
the finest hotels and living accommodations.”* people to increase their professional networking.
These resilient pests feed on humans almost exclusively, biting and
consuming blood from sleeping or sedentary targets, mostly at night.
During the day, bedbugs retreat to hide in dark and hard to access
82. Environmental Preservation Practices to Avoid
places near where they tend to feed. Successful eradication is particu- William P. Lull
larly difficult, as is testified to by professional, commercial pest control
specialists. The conservator has the additional concern that bedbugs To directly mitigate the impact on global climate change, many
can damage textiles, by leaving behind fecal spots, blood spots, egg standards and codes are requiring buildings to reduce their energy
cases and odors. This case study focuses on the treatment of a Lakota use. This includes US Green Buildings Leadership in Energy Efficient
tipi liner, brought to the Textile Conservation Workshop in 2016 Design (LEED), ASHRAE Standard 189.1, and NYC Local Law 87.
because of a bedbug infestation in a client’s home. A literature review Unlike LEED and ASHRAE, NYC notes that certain institutions
was conducted regarding current pest management protocols and should be an exception to these rules. Taking the cue from NYC,
procedures used by conservators and by professionals in the commer- museums, libraries and archives should be none too ready to adhere
cial pest control industry. The most widely accepted treatments used by to LEED and ASHRAE. Many “energy efficient” techniques suggested
conservators include vacuuming, low-temperature treatment/freezing, or mandated by LEED and ASHRAE are counter-productive to the
and anoxic chambers. Some references to heat treatment solutions fundamental goals of collections preservation and should be avoided.
for infestations have been recently published. Where bedbugs are These include Daylighting, Air-Side Economizer, Reset Space Temper-
concerned, heat treatments can be very effective. Commercial treat- ature, Occupancy or Night Shut-Down of Equipment, Seasonal Boiler
ments of bedbug infestations include several different extreme heat Shut-Down, Chilled Water or Supply Air Temperature Reset, Green
temperature methods, only some of which could be considered for Roofs, “IAQ” and Productivity Arguments, Rooftop Photovoltaic
use on historic textiles. The research object examination, and eventual Array, and Ground-Source Heat Pumps (“Geothermal” (sic)). This
freezing and then heating procedures that were implemented in this presentation defines these techniques, and why they are inappropriate
case, are the result of searching for a low-tech solution to adequately for library and archives preservation environments.
eradicate bedbugs in textiles and composite objects.
*A. M. Sutherland, UC Cooperative Extension, Alameda Co.; D.-H. Choe,
Entomology, UC Riverside; and V. R. Lewis, Environmental Science, Policy, 83. The Bay Area Conservation Science Initiative
and Management, UC Berkeley.
Elise Effmann Clifford, Elizabeth S. Peña, Susan Roberts-
Manganelli
81. Preservation Week: Ludwig von Mises Library, The museums of the San Francisco Bay Area host strong conservation
University Francisco Marroquín, Guatemala departments in a wide array of specialties; the area’s universities are
home to preeminent scientists and to some of the world’s top research
Marisol Zuñiga facilities. Despite these advantages, there are no conservation scientists
The library Ludwig von Mises began as a small preservation laboratory on Bay Area museum staffs. The goal of the Bay Area Conservation
in 2006; over the years, the UFM acquired different equipment, tools Science Initiative (BACSI) is to consider how to create a conservation
and materials needed to work with different procedures of preservation science consortium, leveraging the Bay Area’s strengths to serve the
and conservation, making it unique in the country. In 2007, the staff needs of both the museum and academic communities. Thanks to a
of the preservation laboratory started to teach workshops and open grant from the Getty Foundation, in 2015, the Fine Arts Museums
lectures to the public. Recognizing the need for knowledge for training of San Francisco and Stanford University’s Art + Science Lab at the
in themes of conservation and restoration of books and documents in Cantor Arts Center began a partnership to explore the development
the country, we looked to the American Library Association (ALA) of a regional consortium. The project included regular meetings with
and in Guatemala, we implemented a “Preservation Week,” like in the various groups of stakeholders, investigative trips to comparable
USA. We offered and promoted the activities in the same dates as is programs in the U.S., and other research. The poster will present the
in United States, though these activities were adapted to be unique BACSI process, clearly outlining its major challenges and meaningful
to Central America. Preservation Week is a full week of activities. opportunities. It will include the principal activities and outcomes of
International experts are invited to teach lectures and workshops on the three major meetings, from the initial introductory meeting at the

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DeYoung Museum to the most recent meeting, which included tours 85. Future Prospects of Conservation Treatments with
of Stanford’s science and engineering facilities with key participants. a Micro-Aspirator Tool
The poster will outline the trips undertaken to see the facilities and
meet with conservation scientists and colleagues at the following Markus Gross, Friederike Steckling
institutions: • Institute for the Preservation of Cultural Heritage,
The conservators of the Fondation Beveler have recently been experi-
Yale University • Metropolitan Museum of Art • The Museum of
menting with a rather unknown tool, the micro-aspirator, which
Fine Arts Houston • The Menil Collection • Rice University • The
enables new approaches in conservation treatment methods and has
Kimbell Museum • The Amon Carter Museum • The Dallas Museum
shown very promising results. The micro-aspirator can help conserva-
of Art • The University of Texas, Dallas • Northwestern University
tors achieve the ambition of treating surfaces with minimal mechanical
(NU-ACCESS) • The Art Institute of Chicago • Getty Conservation
action while also preventing the penetration of conservation materials
Institute • California Institute of Technology Based on this work, the
into surfaces, thus significantly reducing the potential for surface
BACSI team has developed several possible models for a conserva-
abrasion and residues.
tion science consortium that would be appropriate for the Bay Area
Invented and designed by Swiss conservator Benno Wili, the
context. These models, which will be subject to much future discussion
micro-aspirator basically produces a highly controllable suction action
and will form the basis for a white paper, will be summarized in the
by means of a regulated medical pump. Tip-like and different-sized
poster. Through this poster presentation, the BACSI team hopes to
nozzles or brushes are attached with tubing to a vessel which can collect
communicate with AIC’s membership about the project. The goal is
all types of liquids, gels and particles after passing them through a filter.
to generate discussion that will both help refine the project as it moves
The apparatus is portable and no larger than a regular vacuum cleaner.
toward implementation, while developing good working relationships
Treatments of three paintings will be presented in this talk, which
well beyond the San Francisco Bay Area.
were successful in particular thanks to this technology. The micro-
aspirator allowed the Beyeler conservators to remove a non-original
84. Lifting the Microfiber Veil: Utilizing Evolon natural varnish almost entirely swabless from an early Pablo Picasso oil
painting of the Demoiselle d’Avignon period. The complex surface was
fabric at the Mauritshuis to remove aged varnish from treated several times in the past and showed various retouches as well
Hendrick Heerschop’s A Visit to the Doctor as areas of historical patina which were to be preserved.
Julie Ribits Cleaning with the micro-aspirator made it possible to remove only
the non-original varnish, leaving the patina and retouches underneath
This poster will focus on the use of Evolon® fabric as a material for intact by reducing the mechanical manipulation on the surface. In the
a “tissue method” of varnish removal. Evolon, a polyamide/polyester same manner, a synthetic varnish was removed from the impasto rich
blended microfiber cloth, is currently marketed industrially as a fabric paint surface of a large Claude Monet Nympheas oil painting (1916-
with a very absorbent internal microfilament structure, ideal for “high- 1919). The micro-aspirator enabled the conservators to reach even into
tech” wiping, healthy anti-mite bedding, and technical packaging, the tiniest crevices and interstices by means of the strong but defined
among other uses. However, conservation studios in France, Germany, suction. In comparison to other Monet paintings cleaned with swabs, a
and the Netherlands have begun to test the fabric as a material to aid clear advancement in thorough and even varnish removal was achieved.
in “tissue method” varnish removal treatments, with promising results. The conservators also successfully treated an Andy Warhol
This poster will highlight a case study from a treatment at the Maurit- silkscreen painting (1984) with the micro-aspirator. Covered by
shuis in The Hague, Netherlands, including testing and subsequent the artist in diamond dust powder directly into the wet paint for a
methodology for using the Evolon fabric during varnish removal, as sparkling effect, the work suffered from extreme, almost disfiguring
well as potential drawbacks to the technique. Hendrick Heerschop’s soiling from “real” dust. The only plausible option was to pull off the
A Visit to the Doctor, a small 17th century Dutch panel painting in dust fibres manually. However, with the help of the micro-aspirator,
the Mauritshuis collection, was brought to the conservation studio individual dust fibres were easily removed with the right amount of
for a technical study and treatment in the fall of 2015. Underneath suction strength and control, without affecting or losing any of the
multiple layers of markedly discolored varnish and overpaint, the original diamond dust particles in which the dust fibres were lodged
painting exhibited extensive lead soap formation across the entire and tangled. While these are only few examples of treatments with
painted surface. Though no active paint flaking from these protrusions the micro-aspirator, the authors believe there is a potential for further
was observed during preliminary examination, the soaps appeared to applications which need be tested and considered. Other case studies
have been disturbed and partially removed during a previous restora- which have shown promising results will be touched upon, such as
tion, thus requiring a particularly cautious varnish removal method consolidation, cleaning fire-damaged surfaces or removing foxing from
for the current treatment. When a variety of solvent tests with cotton paper. The micro-aspirator is a promising new conservation tool, but
swabs swelled the varnish but required too much time or mechanical every innovation should also be treated with caution and continuing
action for safe removal, Evolon fabric was suggested as a potential re-evaluation. The aim of this poster will be to present the applica-
alternative to cotton swabs and other solvent carriers. The microfiber tions employed so far, consider future prospects and address possible
composition of the fabric carried the solvents necessary to swell aged limitations as an overall introduction to this new technology for the
varnish films without leaking and subsequently absorbed the varnish participants of the 45th AIC Annual Meeting.
without added mechanical action. Based on the successful treatment
of Hendrick Heerschop’s A Visit to the Doctor, Evolon fabric may be
a highly effective material option to consider as a “tissue method” for
varnish removal treatments.

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86. Teamwork in its Best: The Stack Numbering 87. Sampling of Microorganisms from Egyptian
Project at the Library of Congress Mummies at the National Museum of Rio de Janeiro,
Beatriz Haspo, Dallas Grubbs, Megal Moltrup, Madeline
Brazil: A successful adaptation of a vacuum cleaner
Morehouse, Escarlet Silva model
The Library of Congress is the world’s largest public library, containing Ricardo Reis
838 miles of shelving in three buildings on Capitol Hill in Washington, The sampling of archaeological materials is expected to preserve their
DC, and in off-site storage facilities. The nearly 23 million books, structure from physical damage like breaking or crumbling. Sampling
pamphlets, bound periodicals, and other printed and digital materials devices have to be adequate to the characteristics of surface and the
which are contained and maintained in these collections require space, kind of material to be collected. Pulverized samples are the source of
organization, and specific locations for reference and effective moni- biological structures like parasite eggs, spores, pollen, etc., that can be
toring purposes. Storage areas located on Capitol Hill are generally collected in archaeological materials. Tools such as tweezers, scissors,
described by the building name, the floor number, and the side of swabs and scalpels may not be able to capture them, especially if the
the building (north or south) as reference points for staff working to material to be sampled is trapped in textiles, inside the roughness
locate collections items. The Collection Access, Loan and Management of irregular surfaces, or even in the holes and gaps of mummified
Division (CALM) of the Library is responsible for maintaining and packs. The use of the conventional devices described above to collect
serving the General Collections while ensuring, through appropriate multiple samples demands multiple sterile devices and specific storage
security and preservation measures, that the collection will be available procedures. In order to save time, preventing cross-contamination and
for future generations. Towards fulfilling this mission, in 2005 CALM improving the collection of pulverized samples in different conditions
initiated a process to improve the overall location of the materials in an adapted mini vacuum cleaner (MVC) was developed and tested in
the stacks, numbering the main rows of the general collections storage a recent study that aimed to evaluate the fungal contamination at two
areas within the John Adams and Thomas Jefferson Buildings. During Egyptian mummies from National Museum of Rio de Janeiro – Brazil.
the next ten years, this numbering system proved time-efficient for staff The adaptation consisted of adapting a connection tube to the
during space management, retrieval, or refiling projects, increasing the vacuum cleaner in order to use disposable pipette tips protected with
staff’s productivity. More importantly, the new system proved vital for cottons pellets inside to do the sampling. Disposable urethral catheters
security by optimizing emergency preparedness and response time. were connected at tips when necessary, to sample inside narrow spaces.
During 2013 and 2016, the Collections Officer proposed and imple- From 20 samples collected from bodies with conventional devices and
mented a more detailed locating system based upon previous successful mini vacuum cleaner, 12 fungi strains were isolated and 7 different
space management concepts introduced at the Library off-site storage fungi genera could be previously identified. Of these, 13 samples were
facilities. This project added location numbers to each side of a main aspirated by vacuum cleaner from surface and small gaps on both
row and the sections of each row. The project was divided into two mummies and from the plastic capsule was keeping the mummy of
parts due to budget constraints and will be completed by mid-October Hori, allowing isolate 8 fungi strains belongs to 5 different genera, as
2016. Multiple teams worked to label the library stacks, execute quality Cladosporium isolated from both mummies. However, 6 samples were
control measures, and perform statistical analyses while also updating negative to fungal growth.
the majority of the floor plans. This endeavor to label roughly 93,000 The use of a vacuum cleaner seems to be a great deal better at
sections across sixty-five decks required the application of 6,000 to collecting pulverized samples, due to its minimum contact with
9,000 labels per week (approximately 1,090,000 labels in total). It also substrates, and the preservation of samples. Positive results for the
demanded physical labor, communication and collaboration among fungal development showed that the use of the device did not affect the
many custodial divisions storing their vast collections in these areas, viability of fungal propagules, allowing their isolation and identifica-
flexibility, and superior time management. This paper will present how tion. We also observed time saving when a vacuum cleaner was used
the Stacks Numbering Project at the Library of Congress will improve compared with conventional devices. New adaptations on vacuum
upon the institution’s system of locating collection materials, thus cleaners could be necessary in the future to get more satisfactory and
benefiting a variety of stakeholders such as collections managers, library accurate results. Finally, the authors recommend the use of this device
technicians, security personnel, and preservation experts. It will also not only for mummies, but also for other archaeological materials.
address how these improvements in the stack numbering system will
not only make the collections more accessible for researchers and the
public but also minimize the response time of conservators, allowing 88. The Royal Treatment: Conservation of
items to be quickly located and preservation work to be carried out archaeological material from Revolutionary War
as soon as possible. Through major initiatives such as the Stacks
vessel Royal Savage
Numbering Project, the Library of Congress is striving to remain at the
forefront of collections management standards, designing and imple- Shanna Daniel, Kate Morrand
menting plans and protocols to ensure the accessibility, longevity, and
security of its nearly 162 million items. In 2015, the Naval History and Heritage Command Underwater
Archaeology (UA) Branch received the remains of ROYAL SAVAGE,
a Revolutionary War vessel which sank in Lake Champlain in 1776
following service in the Battle of Valcour Island. UA archaeologists and
conservators are employing a combination of traditional methods and
modern technology to document, research and preserve this important
piece of U.S. Navy history. UA conservators are also working to conserve

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and re-treat more than 1,300 associated artifacts, employing spectro- cultural value and a strong institutional identity, recognized as a heritage
scopic and elemental analysis of certain components of the artifact of Brazil’s science and health. The collection is diverse in nature, with
collection to identify and help mitigate previous cleaning campaigns. architectural, urban and archaeological, archival, bibliographic and
museological items that serve as testimony of the social, political and
historical processes of these fields. They are currently being preserved,
89. A SEM Study of Funori (Green material) to researched, and published, to the benefit of the Brazilian society, by the
Consolidate Archaeological Papyrus Casa de Oswaldo Cruz (House of Oswaldo Cruz - COC), a technical-
scientific unit created with this purpose, in 1986. In recent years, the
Mohamed Abdel-Rahman, Ahmed Tarek COC have made efforts to be a reference in the current scenario of the
Funori is a polysaccharide-based adhesive extracted from the red heritage field, as well as to discuss and propose practical and sustain-
algae genus Gloiopeltis and it is generally used in the conservation able solutions for collections. One of the results is the Preservation and
of easel paintings for the consolidation of matte paint. It is appreci- Management Policy for Cultural Collections in Science and Health
ated in conservation since it does not change the optical properties (Política de Preservação e Gestão de Acervos Culturais das Ciências e
of the consolidated materials and it seems to preserve its mechanical da Saúde), which defines preventive conservation, integrated conserva-
properties after ageing. Indeed, Japanese scroll mounters use funori tion, risk management, heritage education, research and technological
to attach facing papers to paintings and to consolidate flaking paints. development as its core guidelines, ensuring society’s accessibility to its
Seaweed is gathered, rinsed, and cleaned, then pressed and dried into heritage now and in the future. In 2010, the project of the “Complex
sheets composed of interlocking yellow-brown strands. This seaweed is for the preservation and dissemination of the scientific collections of
gathered in Japan and China, where it is called “Halio”. The ancient Fiocruz” (“Complexo de preservação e difusão dos acervos científicos
manuscripts and more recent studies confirm the treatment of alga is da Fiocruz”) was selected in a call for proposals from the Brazilian Bank
simple and inexpensive, applied directly as protection of works (paper, of Economic and Social Development (BNDES). The final results of
textiles, wooden boards), or in provisional interventions, or again, to this project are the installation of multi-user platforms for the scanning
give the appropriate viscosity to other adhesives, rice starch and animal and reproduction of images from the collections, and the installation of
glues. The Funori is soluble in water and it’s used as a consolidant in security equipment for fire detection and firefighting in the areas where
restoration because it minimizes the risk of optical changes including the collections are kept. This work focuses on the project’s actions
the unintended gloss, the formation of tide lines, darkening. The funori related to the museum collection. The goal was to adapt and equip
could therefore be considered a Green material, because it is of natural the building where the collections are located. Some interventions
kind, versatile and easy to use. The advantage of using natural consoli- were made in the collection areas to ensure its correct storage, safety
dants is that they are non-toxic products, and are more compatible from fire, weather and vandalism, appropriate room conditions, and a
with other fabrics than synthetic materials. The Ancient Egyptians used safe and adequate flow of objects and people. As a result, we have: the
papyrus (Cyperus papyrus) as a writing material, as well as employing installation of a fire detection and firefighting system, a security system
it commonly in the construction of other artifacts such as reed boats, with cameras and sensors, low-cost and efficient air conditioning, a
mats, rope, sandals, and baskets. Although they are made from a plant, well-structured conservation room, with appropriate equipment and
the very dry climate of Egypt has meant that many examples of papyri furniture suitable for storing the objects. Finally, this work also aims
have survived from the past, but in bad condition. So it should consoli- to present an analysis of the impacts of this new infrastructure in the
date by using an adhesive, it is prefer to be similar to the chemical preventive conservation of the museum collection.
composition for Papyrus like Funori; the mucilage extract is called
funoran. The above-mentioned studies, however, do not seem to be
accompanied by SEM (Scanning Electron Microscope). The variable 91. An Alternative Approach to Ink Corrosion:
pressure SEM technique proved to be particularly useful because it Biosorption
allowed for the direct observation of a non-conductive material such as
Gizem Erdem, Rumeysa Ozen, Yasemin Unlu Yokus
papyrus, and its chemical characterization. For this reason, investiga-
tions were conducted by means of SEM microscopy, in order to deepen Active treatment of ink corroded manuscripts has been a bottleneck for
the knowledge already acquired on this type of material and to study conservation throughout many years. Although there are many applied
the versatility and the behavior of this material at the micro-structure. treatment methods including tap water, magnesium carbonate, calcium
Finally, The SEM Study showed that Funori has an adequate consoli- phytate combined with calcium bicarbonate and etc., no biological
date, as well as minimal interactions with the physical properties of methods have been revealed and studied yet. Biological treatment
the consolidated papyrus, such as color. Furthermore, Funori showed methods are open to improvements regarding genetic and protein
good stability after accelerated ageing and quite good performance in engineering and therefore can be adaptable to specific conditions. It
relation to biological colonization. Key Words: Funori, Green material, is known that degradation of paper because of ink corrosion is mainly
consolidate, Papyrus, SEM (Scanning Electron Microscope). caused by two reasons: oxidative degradation of paper due to the free
iron ions and acid catalyzed degradation of paper in the presence of
acid. But also it has been proved strongest effect on deterioration
90. Preservation and Management of the Collection caused by the radical mechanism catalyzed by iron (II) compounds
of the Museu da Vida (Museum of Life) regardless of pH of the medium. For that reason, this study focuses
mainly on adsorption of iron ions. In this study biosorption, which is a
Mayara Manhães de Oliveira biological method using dead microorganism as a sorbent for free metal
For more than a century, the Fundação Oswaldo Cruz (Oswaldo Cruz ions, was conducted to be an alternative treatment for ink corrosion.
Foundation - Fiocruz) has pieced together a collection with significant A well-known biosorbent of iron ions Acidithiobacillus ferrooxidans

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was chosen. Non-sized Japanese paper was selected for experiments. To 93. Conservation Challenges in Digital Collections: The
prepare ink a typical iron excess mixture, with a molar ratio Fe: Tan of importance of documentation and value recognition
5.5 : 1 was chosen to be applied on paper specimens including control
procedures - the case of Family Album collection
samples. The next step after pre-aging of paper specimens is batch
type biosorption procedure at specific temperature, pH and biomass Ximena Paola Bernal Castillo
concentration. Remaining free iron ion concentration was planned to
be calculated using analytical techniques. Immediate side effects during Family Album (Álbum Familiar) was born in 2006 in the Museo de
and after treatment will be evaluated visualy by conservator. This is Bogotá, with the objective of creating the largest photographic city
a promising method with non-toxic side effects and can be regarded collection through the ongoing donation of images (digital copies)
as the first step of biological approach to ink corrosion treatment. from the citizens’ family albums. In Family Album the donors recall,
Support of Directorate of the Turkey Institution for Manuscripts is tell and share something about each picture, making images remain
gratefully acknowledged. in the present in a lively manner, thereby generating strong links
between people, photos and stories. In addition, the project method-
ology involves capturing feelings, to the point that people laugh and
92. Chemical Cleaning and Intervention Criteria in a sometimes cry when talking about their pictures. As a project/photo-
Brass Dial Clock from the XIX Century graphic collection, Family Album crosses the field from the intimate to
the public, generating common identification relationships that allow
João Henrique Ribeiro Barbosa, Luiz Antônio Cruz Souza Bogotá’s citizens to recognize themselves in terms of history and ways
of living in a shared territory. Today, Family Album contains more than
This study presents the intervention criteria chosen for a chemical
5000 images. It is a unique collection for two reasons: on the one hand,
cleaning in a brass dial clock from the XIX century. This item belongs
this project is a collective creation constructed by the participation of
to the Abílio Barreto’s Historical Museum settled in the state of Minas
more than 4,500 people/donors that have given digital copies to the
Gerais (Brazil). Usually, clocks are complex objects composed of many
museum, starting a decade ago. This means that if the museum does
devices and different materials. However, in this case, all the mecha-
not take preventive conservation measures, in case of damage or loss,
nisms were lost, but the dial clock was preserved. In the past, the clock
there will not be a chance to recover the entire collection because of
had a decorative and functional value and was used to measure the
its multiple origins, and because of the nonexistence of negatives or
time. Nowadays, the dial clock holds a historical value and is important
positives of this pictures at the institution. On the other hand, Family
as a document. It provides historical evidence of Brazilian techniques
Album suffers from the effects of the confrontation between History
in clocks and metals during the XIX century (forging, chasing and
and Memory. That means that in an initial stage of the project, the
engraving). This clock also improves our knowledge about people and
memories of the contributors were not recorded in the database because
objects of the past century. This single piece holds many singularities
they were not considered important. Starting in 2009 we have included
which suggest it was handmade. It has a break arch type, a cartouche
them in the documentation procedures looking for a real articulation of
with personal inscriptions, a chapter ring with carved roman numerals
these memories with history, and to achieve a comprehensive look and
and other unique decorative marks.
meaning of this collection. The conservation of this digital collection
In the brass surface, a passive and stable cuprite layer was formed.
depends on two priority steps: value recognition and documentation
However, low relief marks were covered by white cleaning residues.
procedures. The Museo de Bogotá is a city public institution that does
Probably a result of a past intervention, this material was reducing the
not have state of the art technology, neither a staff trained specifically in
contrast between low relief areas and the metal. The white residues were
digital collections conservation. Despite these obstacles, knowing about
identified using EDXRF and FTIR. The analyses suggest a calcium
the value and the importance to this collection, will allow the Museo de
carbonate composition, similar to those used in commercial mechanical
Bogotá to develop a long-term digitalizing protocol and to look for a
cleaning products. Local cleaning tests were performed in some areas
formal back-up for this project. The position taken for the documenta-
with sodium citrate in order to know how the surface was below the
tion is the other priority for Family Album conservation. There is a
white residues. As a result, green corrosion products were found. They
need for this cultural heritage collection, to intertwine the memories
were magnified with a microscope and visually characterized as active
of the donors with history facts. This means that as conservators, we
corrosion products. The support has losses and dents. In the back of
are not just conserving images, but also its intangible content putting
the plate, there is a thick surface made of grease and corrosion products
together facts of history and donors’ memories. Bogotá, as a city that
with many scratches. These abrasions suggest past mechanical structures
receives people from all over the country, its inhabitants need a sense
which once were in contact with the back of the plate.
of belonging connected with recognition of its cultural heritage. Family
Our intervention plan consisted of removing white cleaning residues
Album is a perfect venue for achieving it. Because of this, there must be
as well as green corrosion products formed beneath them. This decision
an ethical element in the conservation of this digital collection, and a
was made once the clock is now understood as a historical document
challenge in finding the best way of documenting it.
and for that reason, it should gather a better visibility and legibility. The
white residues were removed with a solution of sodium citrate in water
(1%), first using a swab and then from the irregular surfaces with an 94. Fill in the Gap: The challenge of bringing the lab
adapted toothbrush. After that, the green products were removed with
a sodium diethyldithiocarbamate solution (0.1 mol.L-1). Finally, the
to the building being restored
dial clock face was covered with a microcrystalline wax surface (paste) in Marcela Lydia Cedrola
an attempt to avoid moisture attacks. Structural damage, losses on the
support, and scratches in the back of the plate were preserved because The National Congress is a building that houses the Chamber of
they are associated with the history of the clock. Deputies and Senators of the nation representing the legislative branch.

Poster Session
117
 POSTERS

It occupies more than 2.4 acres. Its construction began in 1897 and museum GEM-CC and started to document all pieces of newspaper
was completed in 1914. The building is of a Greco-Roman eclectic with the textile objects which transferred with it; one of the most
style and is currently declared a National Historic Monument. This interesting things was that the numbering cards were attached to the
complex was built and decorated with the best materials available at the pieces of newspaper. On the other side, we searched the date of these
time; many of those materials were brought to Argentina from Europe. newspaper and found that these dates correspond to interesting events
Thus we find much varied and valuable assets that need to be preserved, inside the tomb. Also, we started to collect the pieces which were cut
among which we can mention marbles from Belgium and elsewhere from one newspaper. From the conservation view point, we studied
in Europe, Boiseries of Italian walnut, German ceramics from Villeroy the yellowing of the newspaper which gives us accurate assessment to
& Boch, sculptures of Carrara marble, gilt ornaments, stucco and false the condition of the storeroom of Egyptian museum at Tahrir, which
finishes that simulate marble. Stenciled mural paintings and paintings we can use to measure the amount of changes of the newspaper from
on canvas, crystal chandeliers, wooden furniture, historic floors and its original color to the yellowish color. New mounting will be made
magnificent stained glass windows. For many years, the building was to the pieces using acid free cardboard.
neglected and without maintenance, therefore many of these precious
materials suffered wear and damage or simply were painted over with
modern paintings that hid the original materials to adapt to more 96. Michigan Papyri Fragments from Excavations to
modern times at the whim of the political authorities in power. In 2010, Display: Egyptian Museum of Cairo
a small team under the restorer Nora Luzzi, head of the Department of
Restoration and Museums, began the task of restoring the Chamber Sara M. Nour
of Deputies. Little by little specialized teams of restorers were formed The Egyptian Museum of Cairo possesses one of the most important
to treat each type of material and recover its former glory. The team collections of papyri in the world. University of Michigan’s excavation
grew to 120 people as the needs of work arose. The teams were made collection is one of its valuable collections, swept away from sandy
of specialized restorers in murals and easel paintings, wood, textiles, Egyptian archaeological excavation sites in the 1920 – 1940, inspired
stained glass, stone, tile mosaics and historical, metals and stucco, as by Francis Willey Kelsey*. The Michigan papyri housed today in the
well as specialized architects in restoration and photographers. In 2014 Egyptian Museum were excavated by American archaeologists of the
I joined this team, to be in charge of an “in situ” laboratory in order University of Michigan (Ann Arbor) between 1924 and 1926 in the
to assist directly and immediately all requirements that could arise in Graeco-Roman village of Karanis, in the north-western part of the
the work “on the field.” In this laboratory, analytical work is done to Fayum. The Michigan papyri contain literary as well as documentary
determine the nature and composition of the original materials, as well texts which shed new light on the life of the people who lived in Karanis
as existing pathologies found. Once identified, intervention processes in the 2nd century CE. This collection contains fascinating personal
are proposed, formulated by the laboratory, and if necessary, the labora- letters, school primers, medical texts, sales contracts and items illus-
tory prepares the specific compounds for the proposed intervention. trating every-day life. Because papyri are considered objects of special
Thus the laboratory, which often is isolated from the restoration work in value, due to their historical value of the writing contents and being an
the field and far from the restorer, in this project it is working alongside archaeological artifact at the same time, the collection is a rich source for
with the team and is a fundamental part of the intervention process. study and publication by Egyptologists and papyrologists. This paper
aims to illustrate the conservation treatments (disinfection, documen-
tation, restoration process, and re-housing) of some special fragments
95. Conservation of Evidence: Howard Carter’s which were mounted in different kinds of beautiful old cigarettes boxes,
journals, the Morning Post and Egyptian Gazette wooden and metallic boxes with few numbers of very good-packed
envelopes, and remounting them between two sheets of glass in order
Nagm eldeen Morshed Hamza
to make them available to students and scholars in order to facilitate the
Tutankhamun is famous throughout the world for the wealth of the studying and publishing of them. Keywords: Papyri; Michigan Univer-
objects found in the pharaoh’s tomb, objects which can be seen in sity; excavation; Egyptian museum; historical value; conservation treat-
various galleries of the Egyptian Museum. Numerous books have ments; disinfection; documentation; restoration process.
been written about the golden treasure, but no one writes about the
materials from Howard Carter’s diaries and journals. Carter used in his
everyday life inside the tomb some materials and boxes to help him in 97. Advances in State-of-the-Art in XRF Elemental
packing and transportation of objects from the tomb to the Egyptian Analysis for Art Conservation
museum at Tahrir. All the materials which Carter used in the excava-
tion have a historical context with the archaeological objects from the Dr. Lee Drake, Dr. Bruce Kaiser
tomb, such as the newspaper, boxes and numbering cards; all these Over the past 15 years, there has been a continuous improvement
materials tell rich stories about the everyday life of the excavators. The in state-of-the-art in XRF elemental analysis for art conservation
newspapers which Carter read were the Morning Post and Egyptian commercially available to the conservation scientist. And, this past
Gazette; after Carter read them, he used them as packing materials year, another significant step has been taken. This paper will provide a
or supports to transfer the textiles of the king from the tomb to the detailed and insightful summary of just what current “state-of-the-art”
Egyptian museum at Tahrir. Before using the newspapers, Carter cut available to all conservation teams means, with specific examples high-
them into different pieces to transfer textile objects from Egyptian lighting each application for each area of conservation including all
museum to The Grand Egyptian museum. The aim of our research is types of paintings, bronze or other metals, ceramics, glass, paper, fabric,
to study the historical context of the newspapers and conserve them as literally any material of interest. Limits of detection from Ne to U,
apart from the history of the tomb. We received the textiles in our new thickness and depth analysis, paint layer detection and determination,

2017 AIC Annual Meeting Abstracts

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object scanning and elemental imaging, corrosion and contamination 100. Studying the Manufacture Technology on
analysis will all be covered, highlighting the exciting advancements Tutankhamun’s Leather Cuirass
in these areas. This is a very important tool for all conservators. It is
fundamental they all know what is now available to them in order to Islam Abd el Maksoud Shaheen
have the most advanced tools in their vital work of maintaining the
One of three extant examples of leather scale armor have been found in
human race’s most important treasures around the world.
the Ancient world was found in Egypt in King Tutankhamen’s tomb.
The only item of true body armor recovered from the tomb was a close-
98. Performance Evaluation of UV Inhibiting Acrylic fitting leather cuirass, found in a crumpled up state in box 587 in the
Annex. It is described by Howard Carter as “made up of scales of thick
Resin Coated Glass with Modern and Historic tinted leather [perhaps red and yellow] worked onto a linen basis, or
Glazing Systems lining, in the form of a bodice without sleeves.”
Andrew Fearon, Janelle Elyse Sahutski Our first examination of Tutankhamen’s cuirass show that it is
constructed from small pointed scales that are laced together into
UV radiation is the single largest contributing factor in fading of rows which were then stitched to backing material formed of six
interiors including fabric, carpets, other furnishings, and art, and layers of very finely woven linen. The study examines a number of
accounts for approximately 40% of all fading damage. Thus, photo- the loose scale to assess the condition, discusses the difference between
degradation must be arrested to maintain the integrity of historic painted rawhide and tanned leather, and identifies the tanning and
materials and finishes. The n-butyl acrylate methyl methacrylate coloring agents used in the cuirass. To find more interpretations for
copolymer emulsion with hindered amine light stabilizers (HALS) and the chemical changes which have been happened to the cuirass, we
ultraviolet light absorber (UVA), GOLDEN MSA, which is tested here studies the characterization of tanning and coloring agents and their
is marketed as an art varnish compatible with various types of paint. effect on the thermal stability of leather. From this goal, our study
Brush and spray applied to modern and historic glass, the coating was began using scientific analysis focused on assessing the development of
weathered in a controlled lab setting on mock-up windows in a Q-Lab the technology of ancient Egyptian and its effect on chemical changes
QUV weathering machine and in the field on skylights at Eastern State on leather using A Dino-Lite Digital Microscope (USB) to talk all
Penitentiary (ESP) in Philadelphia. The coating was unconventionally measurements, Multi-spectral imaging (Ultra Viol (U.V) and Infrared
applied to the exterior surface of the glass with various glazing combi- (IR)) are used for documentation the fluorescence of tanner and color
nations. After 1 year at ESP and 900 hours in the QUV, positive results of the cuirass. Scanning electron microscope (SEM) to obtain a more
proved the coating’s efficiency in blocking UV radiation. The UV detailed observation of the condition and physical characteristics of the
readings, obtained by an ELSEC Environmental Monitor Type 765, leather. Fourier transform infra-red spectroscopy (FTIR) was employed
at ESP decreased, due likely to environmental accumulation which to analyze the various components of the material. Handheld X-ray
scatters incident light waves, while readings slightly increased in the lab fluorescence XRF is used also for Identification of the process of
samples. Both values are a marked improvement to pre-coating values making and what the materials are used to scrap the hair also XRF
and these experiments demonstrate the versatility of the product for an is used to identification the element of the coloring agents. Various
array of material combinations. Quantitative data was supplemented archaeological leather samples from Tutankhamen’s collection were
with qualitative blue wool exposures and time-lapse photography. investigated to use as a reference to identify the leather species of the
cuirass.

99. Impact of Gaseous Pollutants in Silver Artifacts

Corrosion 101. The Preservation of Mummy Bundles in Peru: A
methodological proposal
Yussri Salem
This work aims to study the impact of gaseous pollutants in silver
Selene Isabel Figueroa Cueva
artifacts corrosion. The study will be carried out on manufactured The Arturo Jimenez Borja-Puruchuco Site Museum holds an important
coupons of silver alloy (91 silver, 9 copper) and have chemical compo- collection of mummy bundles, dating from different archaeological
sition similar to ancient Egyptian silver artifact. These coupons will be campaigns conducted since the 1960s. The mummy bundles came
exposed to gaseous pollutants, each gas alone, including Sulfur dioxide, from various archaeological sites East of Lima, such as Puruchuco-
Nitrogen dioxide, Carbon dioxide, Chlorine, Hydrogen sulfide, Huaquerones, Rinconada de la Molina, Cajamarquilla, Pedreros, and
Hydrogen chloride. The exposure period will be four weeks in climate Huanchihuaylas.
chamber at concentration 500 PPM. Impact of each gas is evaluated, We made a diagnostic study of the risks to which the collection
the morphology of the corrosion layers is described, corrosion products was exposed; resulting in the identification of risk levels for each agent
are analyzed and many examinations using microscopes (SEM, PM, of decay. Based on these results and some particular characteristics of
SM, AFM) were used. Results reveal that gases, except carbon dioxide, the collection, a methodology was devised for gradual implementation,
react with the surface of the samples and form a black layer varied according to available resources. Fortunately, in 2014, the museum was
in density rate; analysis results also reveals Ag2S, AgCl as corrosion awarded the US Ambassador’s Prize, which was applied to preserve,
products. among other assets, the museum’s valuable mummy bundle collection.
This grant helped to speed up the process over 2015.
The applied approach considers that each bundle resulted from of
a process in which layers of textiles, ropes, cotton balls, and other items

Poster Session
119
 POSTERS

were organized around one or more deceased individuals. We suggest considering a set of possible future actions such as transport, analytical
there were different stages during the process of wrapping. Additional studies and research in general; so they are reversible, easy to carry and
elements, such as “false heads,” clothing, wigs, and other accessories protect the mummy bundle from external agents. The development of
had also been added over the original mummy building process. Direct the packaging system for the pre-Hispanic mummy bundles represents
observation helped to characterize outer and inner wrapping items, a pioneering technological proposal pioneer in Peru, that has managed
the latter only visible in bundles with broken outer layers that allowed to stabilize and reduce the risks of direct manipulation. Therefore,
to see them. Direct observation then also helped to reconstruct the the proposal represents a successful precedent for the mixed cultural
original technique of placing wrapping and packaging items; therefore heritage conservation of large format in Peru.
identifying different types of elements used by ancient Peruvians,
probably dependent on chronological, chorological or other aspects or
social origin. 103. Mend or Historical Evidence?
Conservation of mummy bundles comprises Preventive Conserva-
Alicia Nathalia Cañiza Pereida, Urani Correa Pérez, Valeria López
tion, which requires building a documentation corpus, along with the
Mancera, Inés del Ángel Mejía Martínez, Rosa Lorena Román
design and development of storage items, including shelves, and climatic
monitors. Micro climatic monitoring is carried out before, during, and Torres, Ana Julia Poncelis Gutiérrez, Martha Contreras Sainz,
after curative conservation. On the other hand, Curative Conserva- Abner Gutiérrez Ramos, Nicolás Gutiérrez Zepeda
tion, refers to the intervention actions that are performed directly The shirt General Francisco Villa wore the day he was murdered in
on the cultural items with the aim of stabilizing them. However, the Parral, Chihuahua, on July 20, 1923, arrived at the Textile Conser-
conservation approach proposed is not only the physical preservation vation Lab of the National School of Conservation, Restoration and
of cultural property, but also the preservation of inspiring knowledge Museum Studies (ENCRyM) “Manuel del Castillo Negrete,” for
useful to society. This wider goal is achieved through dynamic activities study and conservation treatment as part of an academic process.
and workshops, generating life experiences that link our past to the The garment is now part of Mexican cultural heritage because of its
present. Therefore, the proposed conservation of mummy bundles at important relation to one of the highest representatives of the Mexican
the Museum of Puruchuco encompasses a continuous technical, inves- Revolution, and because it is direct evidence of an important moment
tigative, and educational process; considering an integrated conserva- in the history of Mexico.
tion of cultural goods aimed at the community. At the time of Villa’s autopsy, his clothes were removed and handed
to Austreberta Renterıá, one of Villa’s wives. Conflicts emerged after
the general’s death, due to personal interests and government and legal
102. Packaging Systems for Pre-Hispanic Mummy issues, among others. These clothes were the only tangible possession
Bundles in Peru that Austreberta could keep in remembrance of the man she loved. It
Rubén Héctor Buitron Picharde is believed that as an act of affection, she washed and mended the shirt
trying to minimize the traces of blood and the evidence of bullets that
Mummy bundles represent a mortuary treatment used from very ended their history together, thus becoming a sentimental keepsake
early times, a pre-Hispanic historical process in Peru. The produc- for the widow of the leader. In 1965, she donated the clothes to the
tion of mummy bundles was developed over time, depending on the National Museum of History.
geographical location and level of economic development of societies, During the study of the shirt, a theoretical discussion took place
so mummy bundles vary and can be larger in size and weight; some at the ENCRyM: whether to respect the second historicity of the
may reach 2 meters long and exceed 70 kg (154 lbs).This complexity piece by not removing the seams made by Villa’s wife, or to remove
brought a set of deterioration agents and a great challenge for pres- them to highlight the historical facts. As conservators and restorers
ervation. One of the most damaging agents is physical force, specifi- we confronted the disagreement weighing values of intervention
cally improper handling. For this reason, in the Site Museum Arturo and evidence. After the analysis of the case from various theoretical
Jiménez Borja-Puruchuco, we developed a set of packaging systems positions, a proposal for the intervention was developed, based on
according to the characteristics and needs of each mummy bundle, for values and needs, taking into account Villa’s life trajectory and context.
the purpose of significantly reducing these risks, within a preventive
and curative conservation methodology.
The Puruchuco Museum is one of the cultural institutions with 104. The Use of CT Numbers to Quantitatively
one of the most important collections of mummy bundles in Peru, an Classify Cultural Heritage Materials
ideal place to develop this proposal.
Considering size, weight, state of conservation and structural Brittany Dolph Dinneen, Dr. John A. Malko, Renee A. Stein
stability of the mummies, we have designed and developed three Conservators routinely document the structure of objects for the
packaging systems. The system type 1 is for small mummy bundles; it purposes of condition assessment, technical study, and treatment deci-
consists of a polyethylene foam support and a box of polypropylene. sion-making. X-radiography has provided conservators with the ability
The system type 2 is for medium size and weight; it consists in of a to generate images of otherwise inaccessible features such as closed
polyethylene foam support with internal aluminum structure and cavities, internal armatures or other structural features of solid objects,
polypropylene cover. Finally, the system type 3 is designed for mummy in a nondestructive way. Computed tomography (CT) scanning
bundles of large size and weight, reaching 2 meters long and 70 kg. provides an additional level of information, emitting x-rays in multiple
This system has two subtypes: horizontal and vertical. The structure planes and acquiring data at multiple angles to produce a three-
of this system was worked entirely with austenitic steel and was dimensional reconstructed image, whereas the X-radiograph results in
complemented with other stable materials. The systems were designed

2017 AIC Annual Meeting Abstracts

120
 POSTERS

an image in which the three-dimensional information is superimposed presented a visual blemish and threatened the structural integrity of
into a two-dimensional format. In both X-radiography and CT scans the object. A previous conservation attempt illustrated that traditional
image contrast, that is, areas of differing brightness, are related to the means of compensation would not be satisfactory. By expanding upon
differences in X-ray attenuation (radiodensity) of the regions through the idea of an insert, a solution was derived that involved laying a
which the x-rays travel. In X-radiography the superimposed nature of sewing thread coated with sturgeon glue and crushed soft pastels into
the image makes quantitation of radiodensity difficult. In CT scanning the crack, thereby filling and inpainting the loss at once, while estab-
regions of the scanned object can be quantified by their radiodensity; lishing an avenue for future reversal if needed.
this quantitation uses units called Houndsfield units, or CT numbers, The goal of this poster will be to introduce Klein’s commitment to
which describe the radiodensity of a given volume relative to air pure pigment and to outline the conservation approach to this austere
(-1000) and water (0). medium, and consider its successes and shortcomings, and to share
In spite of the proven capabilities of CT scans for imaging, any information on Klein’s materials, application technique, and aging
however, scan output may still not provide enough visual evidence of properties collected from technical analysis and research.
morphology to characterize a material. Furthermore, visual interpreta-
tion of radiodensity is typically only semi-quantitative at best – allowing
for only qualitative comparisons - and dependent on the parameters of
the scan. We suggest that if the relationship between x-ray attenuation
and material class is significant, the identification of a material or class
of materials would be informed by comparing the assigned radiodensity
of a determined region of interest to a table of known ranges for various
cultural heritage materials (i.e. ceramics, stone, soil, clay, cellulosic
organics, keratinous organics, etc.). Similar tables developed for medical
diagnostics include CT numbers for fat, blood, muscle, gray and white
brain matter, and different types of bone.
Potential applications include the characterization of materials
in hidden cavities which may be unethical to open, or impossible to
access, without irreversibly disturbing the exterior matrix. For example,
many African power objects, such as minkisi, contain materials in
bundles or otherwise hidden spaces. Other possible applications may
be the material characterization of amulets hidden in mummy bundles
and sealed opaque vessels with contents intact.

105. String Theory: An innovative insert for the

treatment of Yves Klein’s Untitled Pink Monochrome
(MP 21), 1961
Kristin Robinson
The underbound paint surface of a Yves Klein monopink painting
dating to 1961 presented a unique treatment challenge, inspiring the
conservators at Cranmer Art Group to pursue a better understanding
of the artist’s intent and process, while searching for a compensation
technique that would avoid saturating the paint surface. Research,
careful examination, and pigment analysis led to a better understanding
of Klein’s materials and technique, and the demands of the conserva-
tion treatment prompted reaching past the traditional toolbox.
Klein, a deeply religious artist in constant pursuit of symbolism
and meaning in his work, strove to capture the luminosity of pure
pigment on his monochrome canvases. Pink was the final color estab-
lished in his monochrome series, which include his IKB ultramarine
blue monochromes and monogolds. The texture of his monochromes
is often varied, indicating an exploration of application method.
But while the blue monochromes remain consistent in tone, the
monopinks, based on Madder rose pigment, appear to vary widely in
tone. MP 21 falls in the darker range of his monopinks, and examina-
tion revealed a mixture of both light and dark pink pigment clusters.
A better understanding of this variation in pink tone will be achieved
through pigment analysis.
An open crack through the upper right corner of MP 21 painting

Poster Session
121
NOTES

122
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