This talk presented the multi-disciplinary treatment involved in conserving two English globes- one celestial, one terrestrial. Overall it took 1400 studio hours! That is no typo! Deborah has kindly forwarded some screenshots of the powerpoint that you will find below.
The globes were made between 1845-51 by Malby & Co (http://www.georgeglazer.com/globes/globeref/globemakers.html#malby jump to “Malby”) and they were acquired in 1851 by the University of Deseret, the university founded by the Church of Later Day Saints, now University of Utah.
The structure of these globes goes back to the early 16th century. Globes are essentially 2 hemispheres molded over a form and joined at the equator with an adhesive. The globe is then covered with plaster and paper gores (a gore is the name for the printed sections of paper that contain the informational content of the globe) and the entirety is burnished and varnished.
The Malby globes of the University of Utah were in poor condition, with cracks and losses and discolored varnish. The speakers considered the options for treatment of the two globes and decided they needed to treat them differently, since the terrestrial globe was so damaged that all of the gores needed to be removed and the hemispheres realigned, while the celestial globe had only small areas of damage so it did not need to be completely disassembled.
The treatment involved removing the varnish, removing the paper gores with a hand-held steamer, realigning the terrestrial globe’s hemispheres, cleaning the gores, mending, filling losses, reattaching the gores, burnishing, then varnishing.
Where there were areas of loss to the information on the gores, the TKM studio found gore reference sheets from Malby at the Royal Geographic Society in London. These were copied and then printed using pigmented ink-jet printer for the celestial globe. Gores from another globe, also at the RGS in London, were used as a reference for the terrestrial globe replacement gores. The reproductions were inserted as fills in the specific areas of loss in the cartography. Since this treatment, carried out in 2007, new techniques have become available, and the TKM studio has been using Pronto plates (http://www.nontoxicprint.com/polyesterplatelitho.htm ) for the past year or so. These plates use traditional printer’s ink, which is light, solvent, and heat stable.
The filled gores were registered and reattached to the hemispheres using a wheat starch paste-methyl cellulose mix.
After mounting the gores, the globes were burnished, then sized with 3% gelatin mixture. After in-painting, the globes were varnished with Dammar containing Tinuvin. The authors stressed that the entire project was multi-disciplinary as the stand was repaired and the metalwork was cast and engraved to form the completed object.
The treatment is published in the most recent Journal of the Institute for Conservation, volume 38 no.1 2015
Month: May 2015
AIC 43rd Annual Meeting- Book and Paper Group: Foxing and Reverse Foxing: Condition Problems in Modern Paper and the Role of Inorganic Additives (Sarah Bertalan)
This talk was given by Sarah Bertalan, as the culmination of a career observing foxing and reverse foxing during her conservation practice. It is such an interesting topic that there was too much information to squeeze into 30 minutes, and Bertalan left us hanging without a conclusion but I will provide some links to articles that she mentioned at the end of the talk summary, as well as to the conservation wiki on foxing. I hope that she will publish in the BPG Annual Postprints, as I’m sure the majority of the attendees of her talk would agree! It is a topic that I find so interesting, and I even compiled my own literature review of foxing while in graduate school!
Bertalan’s observation of 19th and 20th century papers has led her to propose that foxing, the “reddish, brownish, roundish stains that occur in a random pattern,” is not caused by mold or by metal inclusions, but rather by inorganic additives that were added to the paper. It is widely reported that treating foxing stains can frustratingly lead to their reappearance within a relatively short amount of time. Bertalan also considers the capacity for 19th and 20th century papers to discolor over their entire surface, not just in in the staining we associate with foxing. In such cases, the stains may be extensive but superficial, and the condition would be due to contact with catalyzing, acidic materials, not migration of degradation products, as is seen for matburn. Reverse foxing is a term that remains undefined, and the cause is unknown. White spots, as if negative images of the dendrite-like reddish brown foxing spots, will appear and be visible in normal light, often after a paper has been treated. Reverse foxing has been identified frequently on Van Gelder Zonen papers.
Inorganic additives were added to papers in the 19th and 20th centuries to achieve specific results. Additives such as minerals and metal oxides were added to modify the surface and texture, to act as fillers and opacifiers, brighteners and to aid in ink retention. The additives are extremely reactive and act as salts, catalyzing acid-base reactions. While foxing was not visible immediately after the paper was made, elevated humidity, changing pH and daylight would provide the environment to form foxing. Contemporaries were aware of the effect of humidity on papers, notably the appearance of foxing stains.
Bertalan observes that the sensitivity of papers coated or immersed in metal salts to light is well documented, as the earliest photographs were made with paper coated in metal salts. The supporting evidence Bertalan presents for inorganic particles causing foxing is the presence of opaque zones that correspond to foxing stains when paper is seen in transmitted light. Furthermore, when foxing is not visible in normal light, opaque dendrite-like inclusions in the paper can be seen in UV light as well as transmitted light. Even when the reddish-brown stains have been washed out of the paper, the opaque regions still remain when viewed in UV light.
Resources:
http://www.conservation-wiki.com/wiki/Foxing_(PCC)
Soyeon Choi Literature Review on Foxing (you must use your AIC sign-in to access the article) http://www.maneyonline.com/doi/pdfplus/10.1179/019713607806112378
Browning, B.L. Analysis of Paper 1977.
Job Posting: Assistant Director for Library Conservation and Preservation
Johns Hopkins has a new opening for an Assistant Director for Library Conservation and Preservation in the Sheridan Libraries.
The Assistant Director is responsible for developing the strategic direction of the unit and implementing policies and programs which ensure the ongoing conservation and preservation of the Sheridan Libraries’ collections. In addition to managing the unit, the Assistant Director is responsible for identifying and developing collaborations, partnerships, and programmatic opportunities across the institution in fulfilling the mission of the Sheridan Libraries and Johns Hopkins University. The Assistant Director is also responsible for developing and administering the Heritage Science for Conservation program, which is an inter-disciplinary and inter-institutional research program in collaboration with the Department of Materials Science in the Whiting School.
A key partner in the academic enterprise, the library is a leader in the innovative application of information technology and has implemented notable diversity and organizational development programs. The Sheridan Libraries and University Museums are strongly committed to diversity. A strategic goal of the Libraries and Museums is to ‘work toward achieving diversity when recruiting new and promoting existing staff.’ The Libraries and Museums prize initiative, creativity, professionalism, and teamwork. For information on the Sheridan Libraries, visit http://www.library.jhu.edu/. For information on Evergreen Museum and Library and Homewood Museum, visit http://www.museums.jhu.edu/.
More information is available at https://hrnt.jhu.edu/jhujobs/job_view.cfm?view_req_id=65992&view=sch.
Responsibilities of the Assistant Director for Library Conservation and Preservation:
- Develops strategies, policies, and programs to conserve and preserve the Sheridan Libraries’ collections.
- Manages a team of 7 full-time staff and additional interns and students.
- Plans, implements and manages the operational budgets of the unit and several conservation endowments.
- Provides leadership in the unit for a broad range of conservation and preservation activities including: exhibits, conducting condition reports for loans, preparing facilities reports, developing preservation assessments, managing workloads of conservators.
- Manages the Conservation Internship/Fellowship Programs. Identifies, writes, manages and collaborates with others on conservation, preservation, and conservation science research grants.
- Represents the unit and the Libraries at local, national and international conferences on conservation, conservation science, and preservation.
- Works with Office of Risk Management and Laboratory Safety to ensure local and federal compliance of labs.
- Works closely with Dean of University Libraries & Museums, Associate Dean for External Affairs, and others to identify and to build donor base and sustainability models for the department; including working with Friends group on “conservation adoption” candidates.
- Writes and manages the Milton S. Eisenhower Libraries Disaster Plan (DPlan).
- Serves as PI and manages the Heritage Science for Conservation program, and recommends and facilitates areas of research relevant to the ongoing needs of book and paper conservation to HSC. Participates in quarterly Baltimore Areas Conservation Science Research Team.
- Collaborates and provides leadership in the development of cooperative conservation/conservation science projects.
- Documents the departments stewardship of the Ruzicka Feldman Endowment, Gladys Brooks Foundation, and Helen Ohrenshcall Endowment.
- By role serves on the Library’s Managers’ Council, Exhibitions Committee, Collection Management Council, and Disaster Recovery Team. The Assistant Director is responsible for seven direct reports in three operational units.
Qualifications:
MLS degree from an ALA accredited library school with at least 5 years of job-related experience. • A graduate degree/advanced certificate in book and paper conservation or equivalent of 10 years conservation bench experience. • Demonstrated experience in grant writing and management. • Experience in conservation treatment, collections management principles, practices, and issues. • Familiarity with conservation science research. • Demonstrated administrative and managerial experience, preferably in an academic research library. • Standing in the national and international library and museum fields as relating to preservation/conservation. • Demonstrated knowledge and experience in developing inter/intra-institutional cooperation. • Requires excellent interpersonal, written and verbal communication skills.
AIC 43rd Annual Meeting – The Daguerreotype Uncovered: An Overview of the Surface and Subsurface Chemistry, Physics and Material Science Underlying the First Photographic Process Based on Electron Microscopial Studies. Patrick Ravines
This presentation was delivered by Patrick Ravines, Director and Associate Professor, Buffalo State University. Co-authors include Peter Bush, Lisa Chan, Natasha Erdman, Lingjia Li, Rob McElroy, and Anne West.
Patrick et al have been using electron microscopy to investigate the surface and subsurface of daguerreotypes. They have created fresh plates for the investigation, and have used these analytical techniques during each stage of preparation. They have made discoveries including how scratches to the surface Ag are not always completely removed during the polishing process, polishing removes approximately 1 mm of Ag, and fuming with I2 creates a discontinuous layer of AgI across the plate. One interesting thing Patrick noted was how upon placing a sensitized daguerreotype plate in an SEM, the electron beam produced enough energy to cause the AgI particles to print out before their eyes. After exposure to Hg vapor, they were able to observe the Ag-Hg particles from various angles and discern that there are many other cluster shapes than cubic and hexagonal. Using lasers, they drilled into the daguerreotype surface, created cross-sections, and observed the subsurface voids. Patrick discussed their believe that the subsurface voids are the result of Ag migrating up to the surface to form the image material, leaving behind an absence of material. This work will be published soon in more detail.
Patrick noted that professionals in the electronics industry are using similar materials, Ag and Au, and they are finding similar subsurface voids.
AIC 43rd Annual Meeting – A Glimpse from the Dawn of Photography: Investigation and Stabilization of an Early Daguerreotype from 1839 at the Peabody Essex Museum. Elena Bulat and Kathryn Carey
For this presentation Kathryn Carey, paper conservator at the Peabody Essex Museum (Massachusetts), introduced the project and the museum. The Peabody Essex received an early daguerreotype dated 1839 from a donor in 1858. The image is of Pont Neuf in Paris, and the plate is tentatively attributed to Vincent Chevalier, or Daguerre himself. The daguerreotype was “rediscovered” in 2008 and Elena Bulat, photograph conservator at Harvard University’s Weissman Preservation Center, was contracted to perform analysis and treatment. The daguerreotype was housed in the European style with a paper passe-partout and framed. Elena’s work consisted of opening the package, digitally imaging the plate, performing XRF on the plate and FTIR on the glues, fiber analysis of the papers, observation and imaging under UV radiation, removal of superficial dust from the plate with a manual air blower, replacement of the old passe-partout and cover glass with new but similar materials, and rebinding. XRF revealed low levels of Hg and no Au. S was found in tarnish areas, and no Cl was found. These results in conjunction with observation under UV confirm the identification of this plate as an early 19th century daguerreotype that was cleaned. FTIR revealed beeswax, and fiber analysis found bast and cotton fibers in the paper components. The new housing for the plate consisted of a backing piece of borosilicate glass, a window mat of borosilicate glass, and a new cover glass (also borosilicate). The plate was secured between these layers with a mylar Z-tray. Elena recommended the plate not be exhibited as it was not stabilized by gold toning.
Elena described her experience speaking with a reporter from the Boston Globe regarding this project, and how he had difficulty grasping the concept that “treatment” does not necessarily mean intervention. This rang true for me, and I imagine for many other conservators in the audience. You can read the article here: http://www.boston.com/ae/theater_arts/articles/2010/06/27/a_glimpse_from_dawn_of_photography/
43rd Annual Meeting – Research and Technical Studies, May 15, “Parylene Treatment for Book/Paper Strengthening” by John Baty
In the 1990s there was a pioneering study on the use of parylene to strengthen brittle book paper performed by Don Etherington, David Grattan, and Bruce Humphrey. Ultimately their research did demonstrate that parylene strengthened weak, brittle paper, but several concerns regarding the material’s long term effects were raised; such as reversibility and the uncertainty of its aging properties. John Baty and his colleagues at the Heritage Science for Conservation Research Center at Johns Hopkins University, sought to reexamine the potential for using parylene to strengthen brittle paper, given the improved scientific instruments and analysis methods available today. Their research sought to answer five primary research questions: does parylene strengthen paper, what is the permanence of its effect, what are the side effects, how can parylene treatment be scaled up, and how can it be reversed. Currently they have answered the first two and are conducting ongoing research.
Parylene is applied to brittle books by using a chamber that draws a vacuum and essentially pulls sublimated parylene through the system. The amount of parylene dimer that is added to the chamber directly correlates to the thickness of the deposited film. Previous research had not optimized the amount of parylene needed to achieve a desirable film layer, so this was a primary goal for Baty and his colleagues. The success of the treatment was evaluated using three mechanical paper strength tests: tensile testing, the MIT fold endurance test, and the Elmendorf tear test.
Baty and his team found that using 3 grams of parylene was sufficient to strengthen brittle paper to the point that it behaved similarly to modern wood pulp paper and only imparted a smoother appearance to its surface. 5 grams of the dimer was too much and conservators inspecting the pages concluded that the paper had a more “plasticky” and stiff feel to it. The three mechanical tests did indicate that the brittle paper samples were strengthened with the addition of a parylene coating, but there are still questions regarding this treatment’s reversibility and side effects that remain to be answered by Baty and his team in subsequent research.
43rd Annual Meeting – Research and Technical Studies, May 15, “The Deacidification of Contemporary Drawings: A Safe Method Based on Nanotechnology” by Giovanna Poggi
The degradation of cellulose-based materials, such as paper and canvas, is exacerbated by the presence of acidity caused by the natural aging process, various sizings, surface coatings, inks, or other papermaking products. Conservators attempt to mitigate this problem by the use of alkaline compounds to deacidify the substrate and impart an alkaline reserve within the fibers to counteract future acidity. In the case of paper-based objects, deacidification is most commonly accomplished by either washing in an alkaline bath or spraying on a solvent-based dispersion solution of micro-particles of magnesium or calcium.
Dr. Poggi’s talk presented research into a new method that can be used to deacidify paper-based objects using an apolar solvent dispersion of alkaline nanoparticles applied topically (an airbrush was used in these experiments), without the need for full immersion. The benefit of using nanoparticles for deacidification is that these particles have a higher surface area which react more readily with acidic compounds, creating a faster neutralization reaction; they are more homogenous in structure; and nanoparticles are able to penetrate further through the paper fibers, surface coatings, and sizing than micron sized particles. This research was conducted as part of the broader Nano for Art project, which seeks to devise new methods for the conservation and preservation of art using nanotechnology. More information can be found at their website: http://www.nanoforart.eu/.
Through the use of solvothermal reactions, Dr. Poggi and her colleagues were able to procure nano-sized particles of a crystallized form of CaOH in ethanol. They discovered that an alcohol based system created a stable, highly concentrated dispersion without the need for further purification and was very effective at deacidification. However, this solution could not be applied to more modern papers containing inks which were sensitive to alcohol. Apolar solvents were explored due to the fact that they would not adversely impact the topography of cellulose substrates. A variety of problematic inks were tested, such as ballpoint pen and felt tip marker, until it was determined that cyclohexane was the most appropriate solvent to use. During experimentation on both mockups and actual works of art, it was found that the cyclohexane dispersion did not adversely affect modern inks nor the topography of the paper substrates. Aging tests were performed on samples and indicated that papers treated with the nanoparticle dispersion discolored less and had an improved degree of polymerization when compared to aged, untreated samples.
Dr. Poggi’s presentation was very interesting and I’m looking forward to learning more about the use of these nanoparticle solutions to achieve a more effective and hopefully long lasting form of deacidification.
43rd Annual Meeting – ECPN/CIPP Happy Hour, May 13
Before the opening sessions began, the Emerging Conservation Professionals Network and Conservators In Private Practice co-hosted an evening happy hour at the Hyatt Regency Miami (sponsored by Tru Vue, Inc.). Everyone at the conference was welcome as this event was not ticketed. Appetizers present included breads, cheeses, hummus, fruits and vegetables, and even mini burgers. Alcoholic and non-alcoholic drinks were available for purchase.
Attendees ate, drank, and mingled indoors on the Promenade or outside on the Riverwalk Terrace (image below). The event was well attended with probably between one or two hundred people networking and having fun. Some people decided to stay inside the air conditioned building while others went outside to enjoy the 80˚ weather and view of the Miami River. There were tables and chairs available for small groups to gather, and alternatively, many small groups also chose to sit on the steps and relax.
I certainly recommend those of you who did not attend to do so at a future conference, especially if you are an emerging professional. This happy hour was an excellent opportunity to meet the other attendees. If you are someone who is nervous about attending, please remember that this is supposed to be laid-back and other people want to meet you too. If you know some people at the conference, feel free to begin the evening with them. But after you are more comfortable, you should also make an effort to branch-out and talk to people that you do not know. And do not forget to distribute business cards to your new contacts.
If you want to learn more about other networking opportunities open to attendees, you should read reviews for the Opening Reception, Specialty Group Receptions, and Emerging Conservation Professionals Luncheon.
43rd Annual Meeting – Opening Session, May 14, Turning Philosophy into Practice: Documenting Process Through White Papers, by Benjamin Haavik
Through many years of preservation practice, Historic New England has developed traditions of care to achieve structural and aesthetic standards in its historical properties. Examples include methods of repairing joints; labeling repair materials; setting varied target dates for the appearance of structures; and larger concepts like “replace in kind.” Benjamin Haavik discussed his efforts as the Team Leader for Property Care to standardize these treatment practices and ethics by creating white papers.
With varying amounts of detail, white papers can standardize practice for both internal work and contracting. Haavik proposes that 75% of any project can be standardized into defined, basic steps. The remaining 25% is the most difficult part of project development. This 25% might include project details (what materials and how much to replace?), organizational philosophy (which of several column styles should be matched?), and practitioner’s experience (how can we best determine methodology in the field?) Time and cost are the limiting factors in standardizing this last 25%, since highly-detailed white papers may address issues that are more effectively determined on a case-by-case basis.
While Haavik’s talk examined management processes, surprising corollaries existed with John Hogan’s and Carol Snow’s “Sol LeWitt’s Wall Drawings: Conservation of an Ephemeral Art Practice.” Hogan echoed Haavik’s observations about the challenges of realizing the most interpretive portions of a project: here, Sol LeWitt’s instruction-based Wall Drawings. Whether in preservation management or art conservation, codified standards require careful interpretation in order to create successful work.
43rd Annual Meeting – Opening Session, May 14, The False Dichotomy of “Ideal” versus “Practical” Conservation Treatments, by Barbara Appelbaum (presenter) & Paul Himmelstein
AIC’s 43rd Annual Meeting opened with a challenge to its central theme, “Practical Philosophy, or Making Conservation Work.” In her opening talk, Barbara Appelbaum proposed that conservation treatment does not place theory and practice at odds. Instead, treatment is inherently an act of compromise, in which the needs of stakeholders and the needs of the object are blended into an ideal course of action. As acceptable end states for treatment have broadened, a wider range of conservation strategies has become acceptable. Examples were drawn from the contrasting worlds of institutional work and private practice. These environments can offer different types of knowledge about an object’s value, authenticity, and ongoing care. Ethical and effective treatments are equally feasible in both.
Appelbaum cautioned that semantic debates between theory and practice can create burdensome self-doubt among practicing conservators. Our field’s professional literature is both abundant and conflicting, potentially leaving the conscientious practitioner with lingering worries about fundamental practices and tenets. AIC’s core documents help to address this situation by offering support for flexible and ethical conservation strategies.
Contrasting views on the impact of compromise were discussed elsewhere during the conference, including Julie Biggs’ and Yasmeen Khan’s “Subject and Object: Exploring the Conservator’s Changing Relationship with Collection Material.” While Appelbaum highlighted how conservation treatment may be strengthened through processes of choice and compromise, Biggs and Khan suggested a dilution of achievable treatment goals and specialist skills given the competing demands of traditional conservation, digitization, and exhibition. These underlying themes animated many varied and timely discussions throughout the Miami meeting.