Pub Date : 2018-01-02DOI: 10.1080/10344233.2018.1489456
M. Scott
Professor Colin Pearson played a transformative role in cultural materials conservation in Australia. As a founding member of the AICCM, the first Editor of its peer-reviewed journal, and the Head and Professor of the first tertiary conservation education program in Australia, Colin Pearson influenced the lives and careers of many conservators across Australia and further afield. This paper considers his extraordinary contributions, with a particular focus on conservation education, highlighting his many achievements and his legacy to the discipline and to the profession.
{"title":"Professor Colin Pearson: ‘one of the most versatile and capable conservators of his generation’†","authors":"M. Scott","doi":"10.1080/10344233.2018.1489456","DOIUrl":"https://doi.org/10.1080/10344233.2018.1489456","url":null,"abstract":"Professor Colin Pearson played a transformative role in cultural materials conservation in Australia. As a founding member of the AICCM, the first Editor of its peer-reviewed journal, and the Head and Professor of the first tertiary conservation education program in Australia, Colin Pearson influenced the lives and careers of many conservators across Australia and further afield. This paper considers his extraordinary contributions, with a particular focus on conservation education, highlighting his many achievements and his legacy to the discipline and to the profession.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"39 1","pages":"4 - 9"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2018.1489456","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42649035","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 : 2018-01-02DOI: 10.1080/10344233.2018.1509550
I. MacLeod
The contribution that Colin Pearson has made to materials conservation in Australia is second to none. The impact that Colin had on the foundation of the Western Australian Museum’s conservation department has continued to echo down through four decades. This paper is a reflection from the WA Museum perspective on the man, his talents and the inspiration that he left behind that has motivated conservators and conservation scientists in Western Australia.
{"title":"Contribution to Research: Colin Pearson†","authors":"I. MacLeod","doi":"10.1080/10344233.2018.1509550","DOIUrl":"https://doi.org/10.1080/10344233.2018.1509550","url":null,"abstract":"The contribution that Colin Pearson has made to materials conservation in Australia is second to none. The impact that Colin had on the foundation of the Western Australian Museum’s conservation department has continued to echo down through four decades. This paper is a reflection from the WA Museum perspective on the man, his talents and the inspiration that he left behind that has motivated conservators and conservation scientists in Western Australia.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"39 1","pages":"10 - 18"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2018.1509550","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43438929","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 : 2017-07-03DOI: 10.1080/10344233.2017.1402413
Julianne Bell, M. Newnham, P. Nel
Cellulose triacetate (CTA) film, the main film base of the Twentieth Century, is inherently unstable, affected by autocatalytic deterioration through hydrolysis. The release of, and subsequent exposure to, acetic acid known as ‘vinegar syndrome’ accelerates deterioration, placing all cellulose acetate materials at risk or actively deteriorating. Preservation techniques rely on cold storage to slow deterioration or microenvironments with adsorbent materials to remove corrosives and/or pollutants. However, commercially available adsorbents can be expensive and difficult to access. This research investigated the potential for tea and tea waste to act as an alternative, low cost, accessible adsorbent for the preservation of CTA film. Adsorption capabilities of various tea varieties and treatments were compared with activated charcoal, silica gel and molecular sieves. Testing established tea as an effective adsorbent of water and acetic acid vapour, with an aversion to adsorption of the plasticiser dibutyl-phthalate. Use of tea waste also involves additional cost, sustainability and accessibility benefits along with lessened corrosive potential. These findings support tea as a potentially viable alternative adsorbent for the preservation of CTA film, requiring further research into optimum application systems.
{"title":"Tea: An Alternative Adsorbent for the Preservation of Cellulose Triacetate Film","authors":"Julianne Bell, M. Newnham, P. Nel","doi":"10.1080/10344233.2017.1402413","DOIUrl":"https://doi.org/10.1080/10344233.2017.1402413","url":null,"abstract":"Cellulose triacetate (CTA) film, the main film base of the Twentieth Century, is inherently unstable, affected by autocatalytic deterioration through hydrolysis. The release of, and subsequent exposure to, acetic acid known as ‘vinegar syndrome’ accelerates deterioration, placing all cellulose acetate materials at risk or actively deteriorating. Preservation techniques rely on cold storage to slow deterioration or microenvironments with adsorbent materials to remove corrosives and/or pollutants. However, commercially available adsorbents can be expensive and difficult to access. This research investigated the potential for tea and tea waste to act as an alternative, low cost, accessible adsorbent for the preservation of CTA film. Adsorption capabilities of various tea varieties and treatments were compared with activated charcoal, silica gel and molecular sieves. Testing established tea as an effective adsorbent of water and acetic acid vapour, with an aversion to adsorption of the plasticiser dibutyl-phthalate. Use of tea waste also involves additional cost, sustainability and accessibility benefits along with lessened corrosive potential. These findings support tea as a potentially viable alternative adsorbent for the preservation of CTA film, requiring further research into optimum application systems.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"38 1","pages":"103 - 113"},"PeriodicalIF":0.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2017.1402413","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41396613","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 : 2017-07-03DOI: 10.1080/10344233.2017.1409152
A. Hamilton, M. Kocsis
In 2015, an oversized 1862 photolithograph of Meek’s Historical and Descriptive Atlas of the British Colonies in Continental and Insular Australia surfaced as a conservation and digitisation priority within the Maps collection at the State Library Victoria, Melbourne. Originating as a large-scale pen and ink drawing by James McKain Meek in 1861, the Atlas provided a condensed history of each of the Australian colonies and was widely celebrated for its skilful miniature penmanship, winning a First Prize at the 1861 Victorian International Exhibition. Meek subsequently printed copies of the Atlas by photolithograph as a commercial enterprise, and a number remain in public collections across Australia. The original drawing is since thought lost. The photolithograph was prioritised for treatment in view of its social and historical significance, aesthetic appeal and unique content. This chart may be the only available representation of a second version of the Atlas, which includes additional printed elements. Oversized works on paper, particularly those in poor condition, can present challenges for conservators. This paper will discuss the treatment of Meek’s Atlas, presenting a modified procedure for the conservation of oversized rolled charts that highlights the use of Western and Japanese materials and techniques.
{"title":"Meek’s Atlas: Treatment of an oversized rolled chart","authors":"A. Hamilton, M. Kocsis","doi":"10.1080/10344233.2017.1409152","DOIUrl":"https://doi.org/10.1080/10344233.2017.1409152","url":null,"abstract":"In 2015, an oversized 1862 photolithograph of Meek’s Historical and Descriptive Atlas of the British Colonies in Continental and Insular Australia surfaced as a conservation and digitisation priority within the Maps collection at the State Library Victoria, Melbourne. Originating as a large-scale pen and ink drawing by James McKain Meek in 1861, the Atlas provided a condensed history of each of the Australian colonies and was widely celebrated for its skilful miniature penmanship, winning a First Prize at the 1861 Victorian International Exhibition. Meek subsequently printed copies of the Atlas by photolithograph as a commercial enterprise, and a number remain in public collections across Australia. The original drawing is since thought lost. The photolithograph was prioritised for treatment in view of its social and historical significance, aesthetic appeal and unique content. This chart may be the only available representation of a second version of the Atlas, which includes additional printed elements. Oversized works on paper, particularly those in poor condition, can present challenges for conservators. This paper will discuss the treatment of Meek’s Atlas, presenting a modified procedure for the conservation of oversized rolled charts that highlights the use of Western and Japanese materials and techniques.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"38 1","pages":"53 - 62"},"PeriodicalIF":0.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2017.1409152","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48399402","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 : 2017-07-03DOI: 10.1080/10344233.2017.1396066
Holly McGowan-Jackson
This paper discusses changing attitudes to picture frames during the twentieth century at the National Gallery of Victoria. By the 1990s frames conservation, research and reframing were areas of focus for the institution. The approaches and methods developed at the National Gallery of Victoria while addressing the framing needs of the collection over the past two decades are outlined, with examples provided by three case studies. This includes the introduction of innovative methods of communicating information about frames and their conservation, to staff, volunteers and visitors, both in the gallery and on-line.
{"title":"Framing perspectives: Frames Conservation and Reframing at the National Gallery of Victoria","authors":"Holly McGowan-Jackson","doi":"10.1080/10344233.2017.1396066","DOIUrl":"https://doi.org/10.1080/10344233.2017.1396066","url":null,"abstract":"This paper discusses changing attitudes to picture frames during the twentieth century at the National Gallery of Victoria. By the 1990s frames conservation, research and reframing were areas of focus for the institution. The approaches and methods developed at the National Gallery of Victoria while addressing the framing needs of the collection over the past two decades are outlined, with examples provided by three case studies. This includes the introduction of innovative methods of communicating information about frames and their conservation, to staff, volunteers and visitors, both in the gallery and on-line.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"38 1","pages":"70 - 82"},"PeriodicalIF":0.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2017.1396066","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47439570","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 : 2017-07-03DOI: 10.1080/10344233.2017.1407865
Ahmad N. Abu-Baker, Mahmoud A. Al-Qudah
This study aimed to evaluate (4,6-dihydroxy benzene-1,3-dicarbaldehyde dioxime (DBDD)) as a novel corrosion inhibitor for protecting copper in neutral sodium chloride (NaCl) solutions and conserving archaeological copper-based artefacts suffering from bronze disease. Potentiodynamic polarisation techniques showed that DBDD was effective in inhibiting copper corrosion in 3.5 wt. % NaCl solution. An Iron Age copper-based fibula was used for testing DBDD; X-ray diffraction (XRD) analysis showed that it was suffering from bronze disease before treatment was initiated. Scanning electron microscopy-energy dispersive spectroscopy (SEM-EDS) and Fourier transform infrared (FTIR) spectroscopy investigations showed that DBDD coordinated with copper ions in the corrosion products and formed a protective film on the surface. Investigating the interaction of DBDD with pure copper chloride and carbonate minerals representing corrosion products appearing on archaeological artefacts proved the formation of new passive species between DBDD and these minerals. The fibula treated with DBDD showed no signs of corrosion after exposure to high relative humidity. It was concluded that DBDD was effective in protecting copper exposed to a neutral chloride-containing environment and passivating corrosion products appearing on heavily corroded archaeological artefacts suffering from bronze disease.
{"title":"A novel dioxime compound for protecting copper in neutral chloride solutions and to treat bronze disease in archaeological artefacts","authors":"Ahmad N. Abu-Baker, Mahmoud A. Al-Qudah","doi":"10.1080/10344233.2017.1407865","DOIUrl":"https://doi.org/10.1080/10344233.2017.1407865","url":null,"abstract":"This study aimed to evaluate (4,6-dihydroxy benzene-1,3-dicarbaldehyde dioxime (DBDD)) as a novel corrosion inhibitor for protecting copper in neutral sodium chloride (NaCl) solutions and conserving archaeological copper-based artefacts suffering from bronze disease. Potentiodynamic polarisation techniques showed that DBDD was effective in inhibiting copper corrosion in 3.5 wt. % NaCl solution. An Iron Age copper-based fibula was used for testing DBDD; X-ray diffraction (XRD) analysis showed that it was suffering from bronze disease before treatment was initiated. Scanning electron microscopy-energy dispersive spectroscopy (SEM-EDS) and Fourier transform infrared (FTIR) spectroscopy investigations showed that DBDD coordinated with copper ions in the corrosion products and formed a protective film on the surface. Investigating the interaction of DBDD with pure copper chloride and carbonate minerals representing corrosion products appearing on archaeological artefacts proved the formation of new passive species between DBDD and these minerals. The fibula treated with DBDD showed no signs of corrosion after exposure to high relative humidity. It was concluded that DBDD was effective in protecting copper exposed to a neutral chloride-containing environment and passivating corrosion products appearing on heavily corroded archaeological artefacts suffering from bronze disease.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"38 1","pages":"102 - 94"},"PeriodicalIF":0.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2017.1407865","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44223014","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 : 2017-07-03DOI: 10.1080/10344233.2017.1409388
N. Tse
As we come to the end of , volume . of the AICCM Bulletin includes six institutional perspectives on current conservation research and practice. While papers from the recent AICCM National Conference ‘Collaborate Connect Conserve,’ will be the focus of volume . in . From the outset the content of these two volumes will be quite different but are likewise similar with a central focus on the conservation skills of interdisciplinarity, resourcefulness and creativity. Volume . explores the material fabric of objects, and the mechanisms and approaches toward extending the lifetimes of collections. It reports on the highly technical skills and ways of understanding objects that the discipline of conservation is admired for. While the volumes, will show how objects and collections are ‘doing more’ with the well-known conservation skills highlighted in this volume, along with other skills that are evolving and transforming as part of conservation practice. It will also include a historical and critical reflection of Professor Colin Pearson’s contribution to conservation in Australia, which is an opportunity to assess transformations, where we are today and where objects, and hence our skills base, reside within the discipline and the political, societal and economic values today. This brings us back to volume . and the underlying conservation skills and principles that ground the papers and the knowledge that each explores. Within GLAM, that is galleries, libraries, archives and museums, our practice-based and decision making conservation skills are illustrated well in Albertine Hamilton and Marika Kocsis’s paper on the ‘Meek’s Atlas: Treatment of an oversized rolled chart’. The photolithograph based on James McKain Meek drawings of colonial Australia, are important cultural records that illustrate the way mid-nineteenth century Australia was interpreted, claimed and classified by those in governance. As such, the photolithograph is a significant record of its time, valued for its ability to articulate identity and Australia as a nation then, and can continue to be interpreted and accessed upon digitisation. The work itself is made of inherently low quality materials and given its damage and size, this offered the authors a conservation challenge where resourcefulness was demonstrated utilising established and Japanese paper conservation skills. Likewise, Vanessa Kowalski, Catherine Nunn and Caroline Fry’s paper titled ‘“Landscape in Miniature”—The use of the gum leaf as a painting support in colonial Victoria’ is a fascinating document, work of art and conservation treatment. Uniquely Australian as an oil painting on a gum leaf, the form is a reminder of place, Australia and a cultural record important to our identity. As Australians we are all aware of dry gum leaves in summer, and it is technical mastery that Alfred William Eustace first produced these paintings in , and that they have been cared for an
{"title":"Editorial","authors":"N. Tse","doi":"10.1080/10344233.2017.1409388","DOIUrl":"https://doi.org/10.1080/10344233.2017.1409388","url":null,"abstract":"As we come to the end of , volume . of the AICCM Bulletin includes six institutional perspectives on current conservation research and practice. While papers from the recent AICCM National Conference ‘Collaborate Connect Conserve,’ will be the focus of volume . in . From the outset the content of these two volumes will be quite different but are likewise similar with a central focus on the conservation skills of interdisciplinarity, resourcefulness and creativity. Volume . explores the material fabric of objects, and the mechanisms and approaches toward extending the lifetimes of collections. It reports on the highly technical skills and ways of understanding objects that the discipline of conservation is admired for. While the volumes, will show how objects and collections are ‘doing more’ with the well-known conservation skills highlighted in this volume, along with other skills that are evolving and transforming as part of conservation practice. It will also include a historical and critical reflection of Professor Colin Pearson’s contribution to conservation in Australia, which is an opportunity to assess transformations, where we are today and where objects, and hence our skills base, reside within the discipline and the political, societal and economic values today. This brings us back to volume . and the underlying conservation skills and principles that ground the papers and the knowledge that each explores. Within GLAM, that is galleries, libraries, archives and museums, our practice-based and decision making conservation skills are illustrated well in Albertine Hamilton and Marika Kocsis’s paper on the ‘Meek’s Atlas: Treatment of an oversized rolled chart’. The photolithograph based on James McKain Meek drawings of colonial Australia, are important cultural records that illustrate the way mid-nineteenth century Australia was interpreted, claimed and classified by those in governance. As such, the photolithograph is a significant record of its time, valued for its ability to articulate identity and Australia as a nation then, and can continue to be interpreted and accessed upon digitisation. The work itself is made of inherently low quality materials and given its damage and size, this offered the authors a conservation challenge where resourcefulness was demonstrated utilising established and Japanese paper conservation skills. Likewise, Vanessa Kowalski, Catherine Nunn and Caroline Fry’s paper titled ‘“Landscape in Miniature”—The use of the gum leaf as a painting support in colonial Victoria’ is a fascinating document, work of art and conservation treatment. Uniquely Australian as an oil painting on a gum leaf, the form is a reminder of place, Australia and a cultural record important to our identity. As Australians we are all aware of dry gum leaves in summer, and it is technical mastery that Alfred William Eustace first produced these paintings in , and that they have been cared for an","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"38 1","pages":"51 - 52"},"PeriodicalIF":0.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2017.1409388","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49032731","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 : 2017-07-03DOI: 10.1080/10344233.2017.1398851
Ruby Awburn, Caroline Fry, P. Nel
A new practice is emerging in Australian contemporary art where an epoxy resin is applied as a poured coating onto paintings to obtain a glassy, high-gloss surface layer. However, as the epoxy resin ages it causes undesirable aesthetic and structural issues for the artworks, including yellowing and delamination. As epoxies are known to have limited reversibility, remediation treatment is problematic. In response to artists’ increased usage of epoxy resin coatings as a finish for paintings, various commercial brands have released epoxy-based products, advertised to be resistant to yellowing. In addition, other proprietary brands of artists’ materials have released acrylic emulsion-based products formulated to create a high-gloss surface similar to the epoxy coatings. The primary aim of this research was to evaluate and compare the deterioration characteristics of several proprietary epoxies and an acrylic resin, known to be used as coatings on contemporary paintings, using accelerated ageing and colourimetry analysis. In addition, a contemporary artist who uses these materials was interviewed regarding their practice and expectations of the coating material. This study aims to inform artist selection regarding the performance and stability of the tested proprietary epoxy or acrylic resin coatings for contemporary paintings.
{"title":"Negotiated Outcomes: Investigating Comparative Colour Change of Proprietary Artist Coating Materials for Contemporary Paintings","authors":"Ruby Awburn, Caroline Fry, P. Nel","doi":"10.1080/10344233.2017.1398851","DOIUrl":"https://doi.org/10.1080/10344233.2017.1398851","url":null,"abstract":"A new practice is emerging in Australian contemporary art where an epoxy resin is applied as a poured coating onto paintings to obtain a glassy, high-gloss surface layer. However, as the epoxy resin ages it causes undesirable aesthetic and structural issues for the artworks, including yellowing and delamination. As epoxies are known to have limited reversibility, remediation treatment is problematic. In response to artists’ increased usage of epoxy resin coatings as a finish for paintings, various commercial brands have released epoxy-based products, advertised to be resistant to yellowing. In addition, other proprietary brands of artists’ materials have released acrylic emulsion-based products formulated to create a high-gloss surface similar to the epoxy coatings. The primary aim of this research was to evaluate and compare the deterioration characteristics of several proprietary epoxies and an acrylic resin, known to be used as coatings on contemporary paintings, using accelerated ageing and colourimetry analysis. In addition, a contemporary artist who uses these materials was interviewed regarding their practice and expectations of the coating material. This study aims to inform artist selection regarding the performance and stability of the tested proprietary epoxy or acrylic resin coatings for contemporary paintings.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"38 1","pages":"83 - 93"},"PeriodicalIF":0.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2017.1398851","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43967175","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 : 2017-07-03DOI: 10.1080/10344233.2017.1380919
Caroline Fry, V. Kowalski, Catherine Nunn
The paper examines the history of the use of the gum leaf as a support for oil paintings in colonial Australia, with a focus on the conservation treatment of four paintings by artist Alfred William Eustace from the Albury City Gallery Collection. The paper presents some historic background and describes the technical analysis of the material components of these unique paintings, their condition and the conservation treatment undertaken in preparation for exhibition.
本文考察了殖民地澳大利亚使用树胶叶支持油画的历史，重点研究了艺术家阿尔弗雷德·威廉·尤斯塔斯（Alfred William Eustace）在奥尔伯里城市美术馆收藏的四幅油画的保护处理。本文介绍了一些历史背景，并介绍了对这些独特画作的材料组成、状况的技术分析，以及为筹备展览而进行的保护处理。
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Pub Date : 2017-01-02DOI: 10.1080/10344233.2017.1347246
Alice Cannon, R. Waller
Collection risk assessments were conducted for each of Museum Victoria’s three exhibition venues, using a method based on the Cultural Property Risk Analysis Model (CPRAM) to identify, characterise, and quantify risks. The results of the assessments showed that cumulative light exposure was, by far, the highest risk to collections on display. However, other results were less intuitive. Water leaks and pest infestations made up a large percentage of recorded incident reports but ranked very low in terms of overall expected loss to the collection. Loss due to seismic activity ranked higher than expected, given the popular perception that seismic activity need not concern those living in the Melbourne region. The assessments also highlighted which object populations are more likely to suffer damage. Plastic materials, fluid-preserved specimens, objects on open display, and objects on very long-term display were found to be most at risk. The results of the assessments were illuminating and will inform future exhibition design and maintenance programmes. Additionally, the results identified existing data gaps and thus also identified areas of research that will benefit collection care. Such research—for example, microfading tests—will enable future risk estimates to become increasingly realistic and validated.
{"title":"Illuminating intuition with evidence: assessing collection risks within Museums Victoria's exhibitions","authors":"Alice Cannon, R. Waller","doi":"10.1080/10344233.2017.1347246","DOIUrl":"https://doi.org/10.1080/10344233.2017.1347246","url":null,"abstract":"Collection risk assessments were conducted for each of Museum Victoria’s three exhibition venues, using a method based on the Cultural Property Risk Analysis Model (CPRAM) to identify, characterise, and quantify risks. The results of the assessments showed that cumulative light exposure was, by far, the highest risk to collections on display. However, other results were less intuitive. Water leaks and pest infestations made up a large percentage of recorded incident reports but ranked very low in terms of overall expected loss to the collection. Loss due to seismic activity ranked higher than expected, given the popular perception that seismic activity need not concern those living in the Melbourne region. The assessments also highlighted which object populations are more likely to suffer damage. Plastic materials, fluid-preserved specimens, objects on open display, and objects on very long-term display were found to be most at risk. The results of the assessments were illuminating and will inform future exhibition design and maintenance programmes. Additionally, the results identified existing data gaps and thus also identified areas of research that will benefit collection care. Such research—for example, microfading tests—will enable future risk estimates to become increasingly realistic and validated.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"38 1","pages":"25 - 35"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2017.1347246","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49552384","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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