Pub Date : 2023-05-04DOI: 10.1080/19455224.2023.2205160
Sofia Gomes, Rita Salgueiro, R. Macedo
Abstract In the artist’s absence, the conservation of installation art has come to rely on instructions or other forms of documentation which all play a fundamental role in the processes of acquisition and activation. Drawing on the relationship between theoretical documentation models and collecting institution practice, this article focusses on the process of ‘doing artworks’ and examines the posthumous acquisition and activation of the installation Hiding/Unhiding (1978) by Ana Vieira (1940–2016) in a museum context. By highlighting these processes, the article aims to articulate how open-ended documentation methodologies diverge from museum practices that otherwise tend to stabilise complex artworks by using more prescriptive forms of documentation. In comparing these practices, we question the impact of documentation on the future preservation and trajectory of these ‘unruly objects’, particularly in the artist’s absence.
{"title":"Between theory and practice: the influence of documentation on the preservation of installation art—a case study of Hiding/Unhiding by Ana Vieira (1940–2016)","authors":"Sofia Gomes, Rita Salgueiro, R. Macedo","doi":"10.1080/19455224.2023.2205160","DOIUrl":"https://doi.org/10.1080/19455224.2023.2205160","url":null,"abstract":"Abstract In the artist’s absence, the conservation of installation art has come to rely on instructions or other forms of documentation which all play a fundamental role in the processes of acquisition and activation. Drawing on the relationship between theoretical documentation models and collecting institution practice, this article focusses on the process of ‘doing artworks’ and examines the posthumous acquisition and activation of the installation Hiding/Unhiding (1978) by Ana Vieira (1940–2016) in a museum context. By highlighting these processes, the article aims to articulate how open-ended documentation methodologies diverge from museum practices that otherwise tend to stabilise complex artworks by using more prescriptive forms of documentation. In comparing these practices, we question the impact of documentation on the future preservation and trajectory of these ‘unruly objects’, particularly in the artist’s absence.","PeriodicalId":43004,"journal":{"name":"Journal of the Institute of Conservation","volume":"46 1","pages":"114 - 126"},"PeriodicalIF":0.8,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46406944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/19455224.2023.2202412
Emma Fraser
Abstract One of the most common types of damage to books is when the boards detach from the bookblock. Consequently, book binders and conservators have been creating ways to reattach boards for decades. This article will briefly examine some of these attachment methods and how they informed, but failed to address, some of the board reattachment problems commonly encountered. It then presents a reattachment treatment that requires minimal intervention to the original spine or board materials but still provides a secure means to attach the boards without compromising the integrity of the sewing structure and allows the volume to be fit for purpose. The treatment is efficient, safe and uses readily available equipment, making it ideal for conservators in private practice and those working with time and cost restraints. The article details step-by-step the novel technique that the author developed to address these issues.
{"title":"An elegant method of book board reattachment","authors":"Emma Fraser","doi":"10.1080/19455224.2023.2202412","DOIUrl":"https://doi.org/10.1080/19455224.2023.2202412","url":null,"abstract":"Abstract One of the most common types of damage to books is when the boards detach from the bookblock. Consequently, book binders and conservators have been creating ways to reattach boards for decades. This article will briefly examine some of these attachment methods and how they informed, but failed to address, some of the board reattachment problems commonly encountered. It then presents a reattachment treatment that requires minimal intervention to the original spine or board materials but still provides a secure means to attach the boards without compromising the integrity of the sewing structure and allows the volume to be fit for purpose. The treatment is efficient, safe and uses readily available equipment, making it ideal for conservators in private practice and those working with time and cost restraints. The article details step-by-step the novel technique that the author developed to address these issues.","PeriodicalId":43004,"journal":{"name":"Journal of the Institute of Conservation","volume":"46 1","pages":"149 - 160"},"PeriodicalIF":0.8,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43613389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/19455224.2023.2203940
José Refugio Martínez, A. Guerrero, Alejandra Nieto Villena, G. Ortega Zarzosa, José Ángel de la Cruz-Mendoza, Silvia Montiel Palma
Abstract Results from the natural aging process of copy paper using emission fluorescence spectra are presented in this article. For the study, copy paper examples subjected to aging from 0 to 25 years were selected as test samples. Copy paper shows a well-defined fluorescence spectrum due to the cellulosic compounds used in its manufacture. By analysing each sample's fluorescence bands, relative intensities and the band shifts in the paper’s fluorescence spectra, results provide information about the condition of the cellulosic compounds from which we can estimate the paper’s age. Results show that the relative intensity of fluorescence emission bands of the copy paper exponentially decay as it ages. As such, fluorescence spectroscopy stands out as a suitable technique for evaluating the deterioration suffered by, for example, art works on copy paper. The effect of incorporating wood extracts on the fluorescence properties of aged copy paper was also studied. Wood extracts soluble in ethanol and acetone appear to enhance the fluorescence emissions, raising the prospect of a novel preservation process.
{"title":"Fluorescence properties of naturally aged copy paper and the effect of incorporating wood extracts for their conservation","authors":"José Refugio Martínez, A. Guerrero, Alejandra Nieto Villena, G. Ortega Zarzosa, José Ángel de la Cruz-Mendoza, Silvia Montiel Palma","doi":"10.1080/19455224.2023.2203940","DOIUrl":"https://doi.org/10.1080/19455224.2023.2203940","url":null,"abstract":"Abstract Results from the natural aging process of copy paper using emission fluorescence spectra are presented in this article. For the study, copy paper examples subjected to aging from 0 to 25 years were selected as test samples. Copy paper shows a well-defined fluorescence spectrum due to the cellulosic compounds used in its manufacture. By analysing each sample's fluorescence bands, relative intensities and the band shifts in the paper’s fluorescence spectra, results provide information about the condition of the cellulosic compounds from which we can estimate the paper’s age. Results show that the relative intensity of fluorescence emission bands of the copy paper exponentially decay as it ages. As such, fluorescence spectroscopy stands out as a suitable technique for evaluating the deterioration suffered by, for example, art works on copy paper. The effect of incorporating wood extracts on the fluorescence properties of aged copy paper was also studied. Wood extracts soluble in ethanol and acetone appear to enhance the fluorescence emissions, raising the prospect of a novel preservation process.","PeriodicalId":43004,"journal":{"name":"Journal of the Institute of Conservation","volume":"46 1","pages":"141 - 148"},"PeriodicalIF":0.8,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48386551","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/19455224.2023.2203941
Ayesha Fuentes
Abstract How does one ethically care for a global collection shaped and maintained within a colonial context? How do we address institutional responsibilities in a way that is transparent, rigorous and reparative? This article discusses on-going conservation research at the University of Cambridge Museum of Archaeology and Anthropology as part of a 5-year storage relocation project. Moving beyond key vocabularies and abstract critique, this work examines the potential role of conservation in documenting and interpreting evidence for damage, displacement and erasure related to methods of colonial knowledge production and historic museum practice. The work includes a consideration of the language used to distinguish modifications resulting from museum practice such as the application of pesticides; monitoring change over time; the expectation of object longevity; and the potential consequences of disrupted traditions of maintenance and knowledge exchange. The article concludes by reflecting on the ways in which technical vocabularies, documentation and decision-making processes can shape and even improve the ways in which these collections are studied, valued and utilised by a diversity of stakeholders.
{"title":"Damage, dirt and change over time: documenting conditions at the University of Cambridge Museum of Archaeology and Anthropology","authors":"Ayesha Fuentes","doi":"10.1080/19455224.2023.2203941","DOIUrl":"https://doi.org/10.1080/19455224.2023.2203941","url":null,"abstract":"Abstract How does one ethically care for a global collection shaped and maintained within a colonial context? How do we address institutional responsibilities in a way that is transparent, rigorous and reparative? This article discusses on-going conservation research at the University of Cambridge Museum of Archaeology and Anthropology as part of a 5-year storage relocation project. Moving beyond key vocabularies and abstract critique, this work examines the potential role of conservation in documenting and interpreting evidence for damage, displacement and erasure related to methods of colonial knowledge production and historic museum practice. The work includes a consideration of the language used to distinguish modifications resulting from museum practice such as the application of pesticides; monitoring change over time; the expectation of object longevity; and the potential consequences of disrupted traditions of maintenance and knowledge exchange. The article concludes by reflecting on the ways in which technical vocabularies, documentation and decision-making processes can shape and even improve the ways in which these collections are studied, valued and utilised by a diversity of stakeholders.","PeriodicalId":43004,"journal":{"name":"Journal of the Institute of Conservation","volume":"46 1","pages":"127 - 140"},"PeriodicalIF":0.8,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44595517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/19455224.2023.2215591
M. Furness
{"title":"Mark Furness reviews","authors":"M. Furness","doi":"10.1080/19455224.2023.2215591","DOIUrl":"https://doi.org/10.1080/19455224.2023.2215591","url":null,"abstract":"","PeriodicalId":43004,"journal":{"name":"Journal of the Institute of Conservation","volume":"46 1","pages":"161 - 162"},"PeriodicalIF":0.8,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43446747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/19455224.2023.2202411
Matthew Read, R. Wicaksono
Abstract This article reports the interdisciplinary conservation investigation of a dynamic object, the Silver Swan, an eighteenth-century automaton presently in the collection of The Bowes Museum, County Durham in England. Taking account of recent proposals for ‘disruptive’ conservation, we reflect on how a conservator’s practice is, necessarily, built on philosophical and, specifically, ontological commitments. In other words, commitments to ideas about what objects ‘are’. As such, the practice of conservation requires interpretation, investigation, analysis and teamwork, as well as the facilitation of dialogue across multiple temporal, social and disciplinary contexts. The article attempts to demonstrate that what the Swan ‘is’ depends on its physical and philosophical environment, and that these conceptualisations in turn provide a context for what a conservator does and also ‘is’. The article concludes with some practical suggestions for how a collaborative dialogue about what things ‘are’ might be initiated.
{"title":"Modelling a cam track for the Silver Swan automaton at Bowes Museum: a cross-disciplinary reflection on ‘what things are’","authors":"Matthew Read, R. Wicaksono","doi":"10.1080/19455224.2023.2202411","DOIUrl":"https://doi.org/10.1080/19455224.2023.2202411","url":null,"abstract":"Abstract This article reports the interdisciplinary conservation investigation of a dynamic object, the Silver Swan, an eighteenth-century automaton presently in the collection of The Bowes Museum, County Durham in England. Taking account of recent proposals for ‘disruptive’ conservation, we reflect on how a conservator’s practice is, necessarily, built on philosophical and, specifically, ontological commitments. In other words, commitments to ideas about what objects ‘are’. As such, the practice of conservation requires interpretation, investigation, analysis and teamwork, as well as the facilitation of dialogue across multiple temporal, social and disciplinary contexts. The article attempts to demonstrate that what the Swan ‘is’ depends on its physical and philosophical environment, and that these conceptualisations in turn provide a context for what a conservator does and also ‘is’. The article concludes with some practical suggestions for how a collaborative dialogue about what things ‘are’ might be initiated.","PeriodicalId":43004,"journal":{"name":"Journal of the Institute of Conservation","volume":"46 1","pages":"97 - 113"},"PeriodicalIF":0.8,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46264056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/19455224.2023.2174283
B. Keneghan
{"title":"Properties of Plastics: A Guide for Conservators","authors":"B. Keneghan","doi":"10.1080/19455224.2023.2174283","DOIUrl":"https://doi.org/10.1080/19455224.2023.2174283","url":null,"abstract":"","PeriodicalId":43004,"journal":{"name":"Journal of the Institute of Conservation","volume":"46 1","pages":"92 - 93"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46927212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/19455224.2022.2157458
Oluwole Ejiwoye Rasaki, O. W. Adewuyi, Omawumi O. Makinde
Abstract Findings from this recent study on university libraries in Nigeria revealed that there was a prevalence of pest infestation, including rodents, cockroaches and termites. Prominent among the causes of infestation were food and drink being brought into the libraries, along with the occasional transport of infested materials. Good housekeeping, periodic maintenance of the library environment and fumigation have been adopted as pest treatment and control measures by the libraries, although the absence of dedicated library pest control units means that they depend on any more university-wide pest control programme. This means there are challenges for pest control that include a lack of specialist knowledge compounded by a lack of training for library personnel and inadequate knowledge of Integrated Pest Management (IPM), all of which this article advocates to ensure the effective management and control of pests in the university libraries.
{"title":"An investigation into pest management and control in selected university libraries in Nigeria","authors":"Oluwole Ejiwoye Rasaki, O. W. Adewuyi, Omawumi O. Makinde","doi":"10.1080/19455224.2022.2157458","DOIUrl":"https://doi.org/10.1080/19455224.2022.2157458","url":null,"abstract":"Abstract Findings from this recent study on university libraries in Nigeria revealed that there was a prevalence of pest infestation, including rodents, cockroaches and termites. Prominent among the causes of infestation were food and drink being brought into the libraries, along with the occasional transport of infested materials. Good housekeeping, periodic maintenance of the library environment and fumigation have been adopted as pest treatment and control measures by the libraries, although the absence of dedicated library pest control units means that they depend on any more university-wide pest control programme. This means there are challenges for pest control that include a lack of specialist knowledge compounded by a lack of training for library personnel and inadequate knowledge of Integrated Pest Management (IPM), all of which this article advocates to ensure the effective management and control of pests in the university libraries.","PeriodicalId":43004,"journal":{"name":"Journal of the Institute of Conservation","volume":"46 1","pages":"50 - 63"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41765810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/19455224.2022.2157459
Alejandra Nieto Villena, José Refugio Martínez, A. Guerrero, José Luis Arauz Lara, J. M. Flores-Camacho, A. Lastras-Martínez, José Ángel de la Cruz Mendoza, G. Ortega Zarzosa, Álvaro Solbes García
Abstract In this work, a methodology is proposed to identify the components used in historic photographs using non-invasive and non-destructive characterisation techniques. The methodology provides an approach for analysing photographs by following three steps represented in a flowchart: firstly, the type of binder is determined by identifying morphological and structural characteristics; secondly, the presence or absence of a baryta layer is established; and finally, the presence of organic components used as part of a protective layer is determined. The characteristics and properties revealed using this methodology identify the type of historic photograph through different analytical techniques that provide science-based evidence for any qualitative observations first made. These techniques are interchangeable as they identify specific characteristics in the photographs by using infrared spectroscopy, Raman spectroscopy, infrared spectroscopic ellipsometry, confocal microscopy and atomic force microscopy, among others. As such, the methodology proposed facilitates a secure evidence-based classification of photographs and provides valuable information for their conservation.
{"title":"Towards a methodological approach to identify the main components used in historic photographs","authors":"Alejandra Nieto Villena, José Refugio Martínez, A. Guerrero, José Luis Arauz Lara, J. M. Flores-Camacho, A. Lastras-Martínez, José Ángel de la Cruz Mendoza, G. Ortega Zarzosa, Álvaro Solbes García","doi":"10.1080/19455224.2022.2157459","DOIUrl":"https://doi.org/10.1080/19455224.2022.2157459","url":null,"abstract":"Abstract In this work, a methodology is proposed to identify the components used in historic photographs using non-invasive and non-destructive characterisation techniques. The methodology provides an approach for analysing photographs by following three steps represented in a flowchart: firstly, the type of binder is determined by identifying morphological and structural characteristics; secondly, the presence or absence of a baryta layer is established; and finally, the presence of organic components used as part of a protective layer is determined. The characteristics and properties revealed using this methodology identify the type of historic photograph through different analytical techniques that provide science-based evidence for any qualitative observations first made. These techniques are interchangeable as they identify specific characteristics in the photographs by using infrared spectroscopy, Raman spectroscopy, infrared spectroscopic ellipsometry, confocal microscopy and atomic force microscopy, among others. As such, the methodology proposed facilitates a secure evidence-based classification of photographs and provides valuable information for their conservation.","PeriodicalId":43004,"journal":{"name":"Journal of the Institute of Conservation","volume":"46 1","pages":"23 - 36"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46566490","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/19455224.2023.2174292
J. Kemp
Evidence helps prove or disprove probable cause but the kind of evidence required is determined by the questions asked; all answers get added to the archive that encapsulates the privileged artefact (a process which Jacques Derrida fetishises as ‘archive fever’). Evidence is gathered to provoke action and this first issue of 2023 begins with two articles concerned with conservation’s use of evidence to try and stay ahead of, ultimately, the consequences of the second law of thermodynamics, entropy. Joyce Townsend and Rosie Freemantle’s ‘Three works on paper by Vincent Van Gogh: technical study, display considerations and a conjectural colour reconstruction’ presents the evidence gathered from various analyses—UV, SEM-EDX, FTIR, UHPLC-PDA-HRMS and microfading—to understand the components of the inks and gouaches used in three works by the artist made at the end of his relatively short life. Their results provided a focus for discussions about both the works’ future display and the wider lighting policies of their host institution, the Tate. Critically, van Gogh’s use of geranium lake gouaches based on Eosin Y, a dye highly sensitive to light, are identified for the first time. The second article driven by this cycle of evidence gathering, Alejandra Nieto Villena et al.’s ‘Towards a methodological approach to identify the main components used in historic photographs’, suggests an analytical workflow for characterising those components essential to characterising the type of early photograph on the bench before conservation begins. As the authors state, this workflow will ‘provide science-based evidence for any qualitative observations first made’ and ‘facilitates a secure evidence-based classification of photographs and provides valuable information for their conservation’. In his contribution, ‘The Iranian approach to architectural restoration: a style derived from nationalism’, author Mehdi Hooshyari takes a more textual approach to reading a variety of built heritage projects in his home country Iran to suggest how they independently exemplify aspects of Viollet-Le-Duc’s concept of ‘stylistic restoration’. In avoiding working towards some perceived original state Hooshyari tracks how in restoring historic architectural works an idealised historical moment—one that never existed—has been consistently invoked in restoration work across Iran, much like Viollet-le-Duc’s decidedly ahistoric completion and decoration of Vézelay Abbey in France. The author suggests that given the emphasis on understanding vernacular approaches in various conservation charters, any apparent antagonisms in this Iranian form of stylistic restoration with international conservation principles should be situated within a more accommodating approach such as attempted by the Indian National Trust For Art and Cultural Heritage (INTACH) charter that the author also discusses. Oluwole Ejiwoye Rasaki and his co-authors offer a qualitative and semiquantitative approach to evidence
{"title":"Editorial","authors":"J. Kemp","doi":"10.1080/19455224.2023.2174292","DOIUrl":"https://doi.org/10.1080/19455224.2023.2174292","url":null,"abstract":"Evidence helps prove or disprove probable cause but the kind of evidence required is determined by the questions asked; all answers get added to the archive that encapsulates the privileged artefact (a process which Jacques Derrida fetishises as ‘archive fever’). Evidence is gathered to provoke action and this first issue of 2023 begins with two articles concerned with conservation’s use of evidence to try and stay ahead of, ultimately, the consequences of the second law of thermodynamics, entropy. Joyce Townsend and Rosie Freemantle’s ‘Three works on paper by Vincent Van Gogh: technical study, display considerations and a conjectural colour reconstruction’ presents the evidence gathered from various analyses—UV, SEM-EDX, FTIR, UHPLC-PDA-HRMS and microfading—to understand the components of the inks and gouaches used in three works by the artist made at the end of his relatively short life. Their results provided a focus for discussions about both the works’ future display and the wider lighting policies of their host institution, the Tate. Critically, van Gogh’s use of geranium lake gouaches based on Eosin Y, a dye highly sensitive to light, are identified for the first time. The second article driven by this cycle of evidence gathering, Alejandra Nieto Villena et al.’s ‘Towards a methodological approach to identify the main components used in historic photographs’, suggests an analytical workflow for characterising those components essential to characterising the type of early photograph on the bench before conservation begins. As the authors state, this workflow will ‘provide science-based evidence for any qualitative observations first made’ and ‘facilitates a secure evidence-based classification of photographs and provides valuable information for their conservation’. In his contribution, ‘The Iranian approach to architectural restoration: a style derived from nationalism’, author Mehdi Hooshyari takes a more textual approach to reading a variety of built heritage projects in his home country Iran to suggest how they independently exemplify aspects of Viollet-Le-Duc’s concept of ‘stylistic restoration’. In avoiding working towards some perceived original state Hooshyari tracks how in restoring historic architectural works an idealised historical moment—one that never existed—has been consistently invoked in restoration work across Iran, much like Viollet-le-Duc’s decidedly ahistoric completion and decoration of Vézelay Abbey in France. The author suggests that given the emphasis on understanding vernacular approaches in various conservation charters, any apparent antagonisms in this Iranian form of stylistic restoration with international conservation principles should be situated within a more accommodating approach such as attempted by the Indian National Trust For Art and Cultural Heritage (INTACH) charter that the author also discusses. Oluwole Ejiwoye Rasaki and his co-authors offer a qualitative and semiquantitative approach to evidence","PeriodicalId":43004,"journal":{"name":"Journal of the Institute of Conservation","volume":"46 1","pages":"1 - 2"},"PeriodicalIF":0.8,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48028399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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