Pub Date : 2022-11-11DOI: 10.1080/00393630.2022.2070709
Anne Guérin, S. Tse, C. Dignard
ABSTRACT Microfade testing (MFT) was used to examine standardized wool samples dyed with 14 natural historic dyes, each prepared with five different mordants, to determine whether the lightfastness and colourimetric properties of these dyes vary as a function of the mordant. The addition of mordants changed the original colour of the dyes as well as potential patterns corresponding to ΔL*, Δa*, and Δb* such that the variation of lightfastness ranges from 0.25–0.70 units of Blue Wool Equivalence (BWE). Disregarding the effect of mordants, MFT showed that all dyes have lightfastness equivalent to BW3, indicating that they belong in the category of ‘high sensitivity to light’. All dye-mordant combinations vary in lightfastness, such that even the least lightfast dye will have a mordant combination that is more lightfast than the most lightfast dye combined with a mordant that renders it less lightfast. The effect of mordants varies by dye: while one dye may demonstrate a difference in lightfastness of 0.56 units of BWE between the least and most lightfast mordant combination, another may show little or no difference (as low as 0.07 units of BWE). Overall, alum based mordants tend to produce the least lightfast combinations, followed by tin and iron, with copper and chromium producing the most lightfast combinations. This paper shows that there are no simplistic patterns of lightfastness between mordant-dye combinations with these 14 natural dyes. Identifying both dye and mordant is useful to better estimate the lightfastness of a dyed textile.
{"title":"Microfade Testing of Fourteen Natural Dyes on Wool: A Comparison of Five Mordants","authors":"Anne Guérin, S. Tse, C. Dignard","doi":"10.1080/00393630.2022.2070709","DOIUrl":"https://doi.org/10.1080/00393630.2022.2070709","url":null,"abstract":"ABSTRACT\u0000 Microfade testing (MFT) was used to examine standardized wool samples dyed with 14 natural historic dyes, each prepared with five different mordants, to determine whether the lightfastness and colourimetric properties of these dyes vary as a function of the mordant. The addition of mordants changed the original colour of the dyes as well as potential patterns corresponding to ΔL*, Δa*, and Δb* such that the variation of lightfastness ranges from 0.25–0.70 units of Blue Wool Equivalence (BWE). Disregarding the effect of mordants, MFT showed that all dyes have lightfastness equivalent to BW3, indicating that they belong in the category of ‘high sensitivity to light’. All dye-mordant combinations vary in lightfastness, such that even the least lightfast dye will have a mordant combination that is more lightfast than the most lightfast dye combined with a mordant that renders it less lightfast. The effect of mordants varies by dye: while one dye may demonstrate a difference in lightfastness of 0.56 units of BWE between the least and most lightfast mordant combination, another may show little or no difference (as low as 0.07 units of BWE). Overall, alum based mordants tend to produce the least lightfast combinations, followed by tin and iron, with copper and chromium producing the most lightfast combinations. This paper shows that there are no simplistic patterns of lightfastness between mordant-dye combinations with these 14 natural dyes. Identifying both dye and mordant is useful to better estimate the lightfastness of a dyed textile.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"68 1","pages":"575 - 589"},"PeriodicalIF":0.8,"publicationDate":"2022-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48466777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-07DOI: 10.1080/00393630.2022.2133917
H. P. Melo, S. Valadas, António João Cruz, A. Cardoso, C. Miguel, A. Manhita, Y. Helvaci, C. Dias, A. Candeias
ABSTRACT The palette used by the Portuguese painter Pedro Nunes (1586–1637) in the large panel depicting The Descent from the Cross (460 × 304 cm) painted in 1620 for Évora’s cathedral was investigated with a combination of the visual inspection of the paint surface and the analysis of the paint layers with microscopic, spectroscopic, and chromatographic techniques. Green earth and an orange artificial arsenic sulphide, two pigments identified for the first time in Portuguese paintings of the sixteenth and seventeenth centuries, were found to be abundantly used in large areas of the composition. The results further reveal the choice of a rich palette also containing lead-white, lead-tin yellow, ochre, vermilion, verdigris, smalt, azurite, vegetable carbon black, and a red lake made of brazilwood and cochineal. All the pigments were bound in an oil-based medium. The introduction of two pigments new to the Portuguese conventional palette is a direct consequence of the painter’s training in Rome in the first decade of the seventeenth century.
{"title":"Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette with Original Orange and Green Pigments","authors":"H. P. Melo, S. Valadas, António João Cruz, A. Cardoso, C. Miguel, A. Manhita, Y. Helvaci, C. Dias, A. Candeias","doi":"10.1080/00393630.2022.2133917","DOIUrl":"https://doi.org/10.1080/00393630.2022.2133917","url":null,"abstract":"ABSTRACT The palette used by the Portuguese painter Pedro Nunes (1586–1637) in the large panel depicting The Descent from the Cross (460 × 304 cm) painted in 1620 for Évora’s cathedral was investigated with a combination of the visual inspection of the paint surface and the analysis of the paint layers with microscopic, spectroscopic, and chromatographic techniques. Green earth and an orange artificial arsenic sulphide, two pigments identified for the first time in Portuguese paintings of the sixteenth and seventeenth centuries, were found to be abundantly used in large areas of the composition. The results further reveal the choice of a rich palette also containing lead-white, lead-tin yellow, ochre, vermilion, verdigris, smalt, azurite, vegetable carbon black, and a red lake made of brazilwood and cochineal. All the pigments were bound in an oil-based medium. The introduction of two pigments new to the Portuguese conventional palette is a direct consequence of the painter’s training in Rome in the first decade of the seventeenth century.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"68 1","pages":"731 - 746"},"PeriodicalIF":0.8,"publicationDate":"2022-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47883554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-04DOI: 10.1080/00393630.2022.2131204
P. Wilson, Michael J. Donnelly, Ellie King, Mark A. Williams, Alison E. Cooley
3D digitization methods have become essential tools in cultural heritage practice. Methods like laser scanning and photogrammetry are being widely applied for the conservation of priceless objects and for enabling audience engagement with history. Such data have value as a new wave of multisensory museum practice ripples through the sector and could provide a perfect use for the enormous corpus of 3D data in cultural heritage. This paper documents such an application, where laser scanning has been used in conjunction with 3D printing to re-present the Chichester Roman tablet, an object of key importance in early Romano-British history, to new audiences. It details the process used to digitize the tablet and recreate di ff erent versions of its missing text and its state of preservation. It describes how such data can play a role beyond just documentation. Discussed is how such approaches enrich families ’ engagement in cultural heritage and how such material can used as didactic material in higher education.
{"title":"Reverse-Engineering History: Re-presenting the Chichester Tablet Using Laser Scanning and 3D Printing","authors":"P. Wilson, Michael J. Donnelly, Ellie King, Mark A. Williams, Alison E. Cooley","doi":"10.1080/00393630.2022.2131204","DOIUrl":"https://doi.org/10.1080/00393630.2022.2131204","url":null,"abstract":"3D digitization methods have become essential tools in cultural heritage practice. Methods like laser scanning and photogrammetry are being widely applied for the conservation of priceless objects and for enabling audience engagement with history. Such data have value as a new wave of multisensory museum practice ripples through the sector and could provide a perfect use for the enormous corpus of 3D data in cultural heritage. This paper documents such an application, where laser scanning has been used in conjunction with 3D printing to re-present the Chichester Roman tablet, an object of key importance in early Romano-British history, to new audiences. It details the process used to digitize the tablet and recreate di ff erent versions of its missing text and its state of preservation. It describes how such data can play a role beyond just documentation. Discussed is how such approaches enrich families ’ engagement in cultural heritage and how such material can used as didactic material in higher education.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2022-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44496159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-23DOI: 10.1080/00393630.2022.2118302
Steffi Bodechtel, Annegret Fuhrmann, Andreas Henning, O. Hahn, I. Rabin, Wolfgang Kreische, Michael Mäder
ABSTRACT In an interdisciplinary collaboration, restorers, art historians, and scientists examined Guilio Romano’s The Madonna with the Wash-Basin of 1525 (Dresden State Art Collections). Insights into the painting technique along with art historical comparisons provided the opportunity for a better understanding of the painting’s genesis, in particular concerning an early reworking of the background by the artist. A recovery and reconstruction of the earlier version of the background is now possible. The discovery of zinc in distinct passages of the painting, as well as the grey-black pigment stibnite and glass particles used as a supplement in paint layers are of special interest. The technological investigation initiated a discussion about the circumstances of the revision, as well as the painting’s relation to Vasari’s Lives of Artists.
{"title":"The Madonna with the Wash-Basin by Giulio Romano: A Multidisciplinary Study of the Painting’s History","authors":"Steffi Bodechtel, Annegret Fuhrmann, Andreas Henning, O. Hahn, I. Rabin, Wolfgang Kreische, Michael Mäder","doi":"10.1080/00393630.2022.2118302","DOIUrl":"https://doi.org/10.1080/00393630.2022.2118302","url":null,"abstract":"ABSTRACT In an interdisciplinary collaboration, restorers, art historians, and scientists examined Guilio Romano’s The Madonna with the Wash-Basin of 1525 (Dresden State Art Collections). Insights into the painting technique along with art historical comparisons provided the opportunity for a better understanding of the painting’s genesis, in particular concerning an early reworking of the background by the artist. A recovery and reconstruction of the earlier version of the background is now possible. The discovery of zinc in distinct passages of the painting, as well as the grey-black pigment stibnite and glass particles used as a supplement in paint layers are of special interest. The technological investigation initiated a discussion about the circumstances of the revision, as well as the painting’s relation to Vasari’s Lives of Artists.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"68 1","pages":"812 - 826"},"PeriodicalIF":0.8,"publicationDate":"2022-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48188971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-09DOI: 10.1080/00393630.2022.2118269
N. Noohi, Moslem Papizadeh
ABSTRACT Paintings are essential components of cultural heritage all over the world. They consist of organic molecules such as oils, waxes, gums, sugars, polysaccharides, and proteins that can support the growth of various microorganisms. In this study, in order to identify the microbial community possibly involved in deterioration of paintings in the storeroom of Mouze Makhsus, culturable bacteria and fungi colonizing the paintings were isolated. The identification of isolated bacteria and fungi was performed through morphological analyses and either PCR amplification and DNA sequencing of 16srRNA gene, for bacteria, and ITS genomic region, for fungi. Based on the obtained 16S rRNA gene sequence of bacteria and ITS region sequence of fungi, a phylogenetic tree was constructed using the Neighbor-Joining method. The study also evaluated, in vitro, the cellulolytic activity of the bacterial and fungal isolates. The results highlighted the diverse array of microbial groups colonizing the sampled paintings. Culture-based analyses revealed 27 isolates of bacteria and fungi. Detected fungi fell in seven genera including Aspergillus, Penicillium, Cladosporium, Alternaria, Curvularia, Chaetomium, and Trametes. The majority of isolated bacteria belong to Bacillus genus, whereas to a lesser extent Staphylococcus, Micrococcus, Paenibacillus, Arthrobacter, Heyndrickxia, Priestia, and Rathayibacter were isolated. Qualitative and quantitative assessment of cellulolytic enzyme production showed that the fungal isolates present important cellulolytic activity, and they are potentially dangerous to the paintings.
{"title":"Study of Biodeterioration Potential of Microorganisms Isolated in the Paintings Storeroom of Mouze Makhsus Museum, Golestan Palace, Tehran","authors":"N. Noohi, Moslem Papizadeh","doi":"10.1080/00393630.2022.2118269","DOIUrl":"https://doi.org/10.1080/00393630.2022.2118269","url":null,"abstract":"ABSTRACT Paintings are essential components of cultural heritage all over the world. They consist of organic molecules such as oils, waxes, gums, sugars, polysaccharides, and proteins that can support the growth of various microorganisms. In this study, in order to identify the microbial community possibly involved in deterioration of paintings in the storeroom of Mouze Makhsus, culturable bacteria and fungi colonizing the paintings were isolated. The identification of isolated bacteria and fungi was performed through morphological analyses and either PCR amplification and DNA sequencing of 16srRNA gene, for bacteria, and ITS genomic region, for fungi. Based on the obtained 16S rRNA gene sequence of bacteria and ITS region sequence of fungi, a phylogenetic tree was constructed using the Neighbor-Joining method. The study also evaluated, in vitro, the cellulolytic activity of the bacterial and fungal isolates. The results highlighted the diverse array of microbial groups colonizing the sampled paintings. Culture-based analyses revealed 27 isolates of bacteria and fungi. Detected fungi fell in seven genera including Aspergillus, Penicillium, Cladosporium, Alternaria, Curvularia, Chaetomium, and Trametes. The majority of isolated bacteria belong to Bacillus genus, whereas to a lesser extent Staphylococcus, Micrococcus, Paenibacillus, Arthrobacter, Heyndrickxia, Priestia, and Rathayibacter were isolated. Qualitative and quantitative assessment of cellulolytic enzyme production showed that the fungal isolates present important cellulolytic activity, and they are potentially dangerous to the paintings.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"68 1","pages":"720 - 730"},"PeriodicalIF":0.8,"publicationDate":"2022-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41501005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-09DOI: 10.1080/00393630.2022.2119726
H. P. Melo, António João Cruz, S. Valadas, A. Cardoso, Y. Helvaci, A. Candeias
ABSTRACT The panel depicting The Descent from the Cross, painted in 1620 by the Portuguese artist Pedro Nunes (1586-1637), shows a clear Italian formal influence. The painter’s colour palette was identified in another paper. The panel is now investigated from a technical perspective, discussing aspects related to the support, preparatory system, and paint layer build-up. The research is based on the visual inspection of the painting’s surface with complementary imaging techniques and on the analysis of the materials from the preparatory layers with microscopic and spectroscopic techniques. The characterisation of the painting technique revealed an ingenious use of colour that is based on the understanding of the optical and handling properties of oil paint. This knowledge is illustrated by the painter’s ability to exploit and combine a range of different oil painting techniques, such as glazing, scumbling, wet-in-wet, or wet-in-dry painting; by his formulation of a wide variety of pigment mixtures; and by his use of diverse and often complex layering systems - some quite unconventional for Portuguese painting practice. The material and technical originality of this painting clearly reflects Nunes’ international Roman experience and his desire to update the Portuguese mainstream practice of his time.
{"title":"Italian Influence in a Portuguese Mannerist Painting (Part II): A Matter of Image or a Matter of Technique?","authors":"H. P. Melo, António João Cruz, S. Valadas, A. Cardoso, Y. Helvaci, A. Candeias","doi":"10.1080/00393630.2022.2119726","DOIUrl":"https://doi.org/10.1080/00393630.2022.2119726","url":null,"abstract":"ABSTRACT\u0000 The panel depicting The Descent from the Cross, painted in 1620 by the Portuguese artist Pedro Nunes (1586-1637), shows a clear Italian formal influence. The painter’s colour palette was identified in another paper. The panel is now investigated from a technical perspective, discussing aspects related to the support, preparatory system, and paint layer build-up. The research is based on the visual inspection of the painting’s surface with complementary imaging techniques and on the analysis of the materials from the preparatory layers with microscopic and spectroscopic techniques. The characterisation of the painting technique revealed an ingenious use of colour that is based on the understanding of the optical and handling properties of oil paint. This knowledge is illustrated by the painter’s ability to exploit and combine a range of different oil painting techniques, such as glazing, scumbling, wet-in-wet, or wet-in-dry painting; by his formulation of a wide variety of pigment mixtures; and by his use of diverse and often complex layering systems - some quite unconventional for Portuguese painting practice. The material and technical originality of this painting clearly reflects Nunes’ international Roman experience and his desire to update the Portuguese mainstream practice of his time.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"68 1","pages":"747 - 759"},"PeriodicalIF":0.8,"publicationDate":"2022-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49187506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-17DOI: 10.1080/00393630.2022.2091729
Bin Wang
ABSTRACT This article summarises the findings of the first technical art historical study conducted on the oil paintings of nineteenth-century Chinese painters. Twelve paint cross-sections from export oil paintings were examined and compared in order to establish the painters’ use of materials to make the preparatory layers of paintings. The research focuses on the characteristics of the composition of the ground and structure of the build-up ground layers. Attenuated total reflection (ATR) in conjunction with Fourier transform infrared spectroscopy (FTIR) and scanning electron microscopy coupled with energy dispersive X-ray spectroscopy (SEM-EDX) were performed to analyse the pigments, fillers, binding media, and additives used in the preparatory layers. The findings are also considered in relation to what is known about Chinese export oil painting techniques and materials of the era.
{"title":"An Investigation of the Grounds in Nineteenth-Century Chinese Export Oil Paintings","authors":"Bin Wang","doi":"10.1080/00393630.2022.2091729","DOIUrl":"https://doi.org/10.1080/00393630.2022.2091729","url":null,"abstract":"ABSTRACT This article summarises the findings of the first technical art historical study conducted on the oil paintings of nineteenth-century Chinese painters. Twelve paint cross-sections from export oil paintings were examined and compared in order to establish the painters’ use of materials to make the preparatory layers of paintings. The research focuses on the characteristics of the composition of the ground and structure of the build-up ground layers. Attenuated total reflection (ATR) in conjunction with Fourier transform infrared spectroscopy (FTIR) and scanning electron microscopy coupled with energy dispersive X-ray spectroscopy (SEM-EDX) were performed to analyse the pigments, fillers, binding media, and additives used in the preparatory layers. The findings are also considered in relation to what is known about Chinese export oil painting techniques and materials of the era.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"68 1","pages":"614 - 626"},"PeriodicalIF":0.8,"publicationDate":"2022-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46510230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-10DOI: 10.1080/00393630.2022.2076778
Martina Haselberger, Gabriela Krist
ABSTRACT Over recent decades a more holistic view of cultural heritage has emerged, beyond simplistic tangible versus intangible dichotomies. Similarly, conservation has evolved from being material- to value-based, developing living heritage, people-centred and people-culture-nature approaches. As conservation interventions on objects, monuments and sites can affect an associated living culture and vice versa, conservators have a responsibility not only to understand tangible and intangible values, but also the local community and practitioners and bearers of tradition, by considering forms of ‘usage’ and ‘interaction’ with objects/monuments, identifying them before practical conservation starts. Whilst often constraining practice, living heritage can enrich professional work by encouraging participation and creativity through generating new, and adapting existing, approaches. This paper examines some (practical) implications of living heritage for conservation practice, by considering the Patan Durbar Square in Nepal, and the emphasis placed on continued use and community connection, to help conservators assume their social responsibilities and increase awareness of this issue.
{"title":"Applied Conservation Practice Within a Living Heritage Site","authors":"Martina Haselberger, Gabriela Krist","doi":"10.1080/00393630.2022.2076778","DOIUrl":"https://doi.org/10.1080/00393630.2022.2076778","url":null,"abstract":"ABSTRACT Over recent decades a more holistic view of cultural heritage has emerged, beyond simplistic tangible versus intangible dichotomies. Similarly, conservation has evolved from being material- to value-based, developing living heritage, people-centred and people-culture-nature approaches. As conservation interventions on objects, monuments and sites can affect an associated living culture and vice versa, conservators have a responsibility not only to understand tangible and intangible values, but also the local community and practitioners and bearers of tradition, by considering forms of ‘usage’ and ‘interaction’ with objects/monuments, identifying them before practical conservation starts. Whilst often constraining practice, living heritage can enrich professional work by encouraging participation and creativity through generating new, and adapting existing, approaches. This paper examines some (practical) implications of living heritage for conservation practice, by considering the Patan Durbar Square in Nepal, and the emphasis placed on continued use and community connection, to help conservators assume their social responsibilities and increase awareness of this issue.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"67 1","pages":"96 - 104"},"PeriodicalIF":0.8,"publicationDate":"2022-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46098738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-10DOI: 10.1080/00393630.2022.2079350
I. Narkiss
ABSTRACT This paper examines how museum practice around decolonisation is reflected in conservation practice. It reviews changing conservation attitudes through guidelines and seminal publications. It charts changes in conservators’ approach, especially regarding the treatment of artefacts belonging to Indigenous and underrepresented groups, mainly in the UK and English-speaking world. I suggest that current changes to conservation practice are not radical but are part of a slow and considered trajectory.
{"title":"Decolonising Museum Conservation Practice: A View from the UK","authors":"I. Narkiss","doi":"10.1080/00393630.2022.2079350","DOIUrl":"https://doi.org/10.1080/00393630.2022.2079350","url":null,"abstract":"ABSTRACT This paper examines how museum practice around decolonisation is reflected in conservation practice. It reviews changing conservation attitudes through guidelines and seminal publications. It charts changes in conservators’ approach, especially regarding the treatment of artefacts belonging to Indigenous and underrepresented groups, mainly in the UK and English-speaking world. I suggest that current changes to conservation practice are not radical but are part of a slow and considered trajectory.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"67 1","pages":"183 - 191"},"PeriodicalIF":0.8,"publicationDate":"2022-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44873700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-21DOI: 10.1080/00393630.2022.2099185
Valentina Ljubić Tobisch, A. Selimović, W. Kautek
ABSTRACT Conservation interventions on silver tarnish and corrosion layers include mechanical, chemical, and electrolytic techniques. Electrolytic reduction is still disputed among metal conservators. The prevailing conviction with many is that mechanical cleaning methods are more likely to maintain control over the result than electrochemical methods. A survey on this subject undertaken in Germany and Austria suggested that this may be due to the traditional approaches of academic education. An electrolytic pencil was further developed and has been applied on naturally aged silver artefacts of the nineteenth and twentieth centuries. The influence of the electrochemical potential difference between artefact and counter electrode as well as of the tip diaphragm material was evaluated. A minimized material loss and a good controllability of conservation interventions on silver alloys were demonstrated.
{"title":"Selective Electrochemical Treatment of Naturally Aged Silver Alloy Artefacts","authors":"Valentina Ljubić Tobisch, A. Selimović, W. Kautek","doi":"10.1080/00393630.2022.2099185","DOIUrl":"https://doi.org/10.1080/00393630.2022.2099185","url":null,"abstract":"ABSTRACT Conservation interventions on silver tarnish and corrosion layers include mechanical, chemical, and electrolytic techniques. Electrolytic reduction is still disputed among metal conservators. The prevailing conviction with many is that mechanical cleaning methods are more likely to maintain control over the result than electrochemical methods. A survey on this subject undertaken in Germany and Austria suggested that this may be due to the traditional approaches of academic education. An electrolytic pencil was further developed and has been applied on naturally aged silver artefacts of the nineteenth and twentieth centuries. The influence of the electrochemical potential difference between artefact and counter electrode as well as of the tip diaphragm material was evaluated. A minimized material loss and a good controllability of conservation interventions on silver alloys were demonstrated.","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":"68 1","pages":"657 - 668"},"PeriodicalIF":0.8,"publicationDate":"2022-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45818260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：