Posters from AIC’s 38th Annual Meeting now Online!

Posters presented at the AIC 2010 Annual Meeting are now archived and available for viewing on AIC’s website. If you missed the 2010 conference or just didn’t have a chance to study the posters while you were there – check out the page, read the abstracts and view the posters online. Under the Milwaukee meeting click on show more info and then click on Posters, which will bring you to a list organized alphabetically by author last name. Clicking on a presentation will bring you to the abstract and, if the presentation is available, a link to the file. We are pleased to provide greater access to these interesting and useful projects.

Update: AIC-CERT in Haiti

FAIC is joining the Smithsonian Institution and the U.S. Committee of the Blue Shield (USCBS) to help recover cultural and historic artifacts damaged by the January 12 earthquakes in Haiti.

In early May, two AIC-CERT members joined Corine Wegener, President of USCBS, and engineers from the Smithsonian Institution to assess collections and to evaluate a building in Port-au-Prince for use as a conservation center. Paintings conservator Susan Blakney of West Lake Conservators in Skaneateles, New York, and paper conservator Vicki Lee of the Maryland State Archives were able to view and assess conservation needs at a number of museums, galleries, and historic sites.Based on their findings, the Smithsonian entered into a lease on the building to create the Haiti Cultural Recovery Center. The Center will be operated by the Smithsonian Institution in cooperation with the Government of Haiti. FAIC will help supply volunteer conservators to provide assessments, advice, stabilization, and storage solutions for works currently in peril.

(Pictured: AIC-CERT volunteer Hitoshi Kimura working on the FIRST painting at the

Haiti Cultural Recovery Center)

Read the full story on the AIC-CERT page of the AIC site, www.conservation-us.org/cert

Hirshorn Internships

The Hirshorn museum and sculpture garden offers a number of undergraduate and graduate internships. Internships are offered during the summer, fall, and winter semesters, and academic credit may be arranged through the intern’s school.
Deadlines:
• Spring (January – May) Deadline: October 15th
• Summer (June – August) Deadline: February 1st
• Fall (September – December) Deadline: July 1st

39th Annual Meeting: Call for Papers Now Open!

The theme for the 39th Annual Meeting, to be held in Pittsburgh, PA, May 17-20, 2011, is titled ETHOS, LOGOS, PATHOS: ethical principles and critical thinking in conservation.

The goal of this year’s meeting is to examine how ethics, logic, and perception guide conservation decisions. Assumptions long held in the practice of conservation are being challenged by the modern world. How are the issues of: environmental sustainability, economic drivers, art as entertainment, the use of cultural heritage, and public access concerns changing the practice of conservation? Do the core values of conservation still hold? We will examine existing assumptions about the way conservation decisions are made and the changing environment in which these decisions are taken today. For example, do the core values of conservation still guide conservators presented with the challenges of preserving new media? Does the increasing trend in collecting institutions towards outsourcing conservation services affect the long term preservation of cultural heritage? What is the impact of these changes on conservation education today?

Possible subjects for presentations include increased accessibility and use of built heritage, the effects of changing environmental standards on lending practices, the treatment of contemporary and ephemeral works, artists’ and owners’ rights; the evolution of ethical codes of conduct.

How to Propose a Paper

Please submit an abstract of your paper for consideration. For 2011, we are going to continue to use the system developed last year which allowed authors to submit their talk to any combination of three session types: General Session, Specialty Session, or Poster Session.

For example, you preferences can be:

• General Session, Objects Session, and Wooden Artifacts Session

• General Session, Posters Session, and Book and Paper Session

• Photographic Materials, Electronic Media, and Research and Technical Studies

To submit an abstract for consideration, please send an abstract of no more than 500 words to Ruth Seyler, Membership and Meetings Director, at abstracts@conservation-us.org by Tuesday, September 7, 2010.

Papers maybe be submitted for the General Session, Specialty Sessions, and/or Poster Session. Specialty Session papers are encouraged to address the meeting theme but may also explore other topics relevant to that specialty. Please indicate on the abstract which session/sessions you wish the paper to be considered: General Session, Specialty Session, or Poster Session. Please limit your choices to three sessions and rank them in order of preference. Naturally, you may submit your presentation to only one session if you so choose. Papers for the 2011 meeting should be tailored to a 20-30 minute presentation time.

The deadline for posters only will be extended to October 1, 2010.

Submit an Abstract Online

3rd Roundtable on Environmental Guidelines

3rd IIC Roundtable on Environmental Guidelines

“The Plus/Minus Dilemma: The Way Forward in Environmental Guidelines”

Thursday, May 13, 2010, 4:30-6:00 PM

Participants:

Maxwell Anderson, Director/CEO of Indianapolis Museum of Art

Nancy Bell, Head of Conservation Services, National Archives, London, and Principle Investigator of the Environments, Guidelines, Opportunities and Risks (EGOR) Initiative

Karen Colby Stothart, Deputy Director, Exhibitions and Installations, National Gallery of Canada

Cecily Grzywacz, Conservation Scientist, Chair of ASHRAE Committee on Museums, Galleries, Archives and Libraries

Stefan Michalski, Senior Conservation Scientist, Conservation Research, Canadian Conservation Institute

Terry Drayman-Weisser, Director of Conservation and Technical Research, Walters Art Museum

The roundtable opened with an introduction by Jerry Podany who questions the standard RH&T, parameters set long ago that need to be re-examined due to pragmatic needs and concerns for natural resources as new studies move us forward. Museum directors, conservators, scientists and collections professionals are working together to look at new opportunities that will help us maintain and promote more sustainable environments.

Maxwell Anderson then spoke, emphasizing the importance in the dilemma between longevity of cultural heritage, the costs, energy and ultimate carbon footprint involved in maintaining the collections. The consumption of energy and cost to consume the energy have been irrelevant. We need candor and flexibility in the face of reality- we cannot control our climate as we would like to.

Nancy Bell discussed developments in the UK, their initiative for environmental standards and cultural heritage. How would she advise? Catalysts for change: include challenges to conservation, develop research clusters and environmental guidelines. Look at the acceptable levels of damage in our cultural heritage. We need to develop environmental standards.

Karen Colby outlined the environmental guidelines at the National Gallery in Canada over the past 15 years. She stresses flexibility and the potential for less rigid standards in environmental control. In Canada there are remote venues and long distances between venues, seasonal extremes in temperature. Their strategy is to keep the RH between 50 and 44% with a 2-month period of ramping up and down. Special exhibits can be zoned. They circulate their collection with 20 to 25 exhibitions each year so flexibility is needed.

Cecily Crzywacz -analytical chemist for ASHRAE. There is no standard written for temperature and relative humidity, no definite answer to how to use RH&T and how to protect art.

There is a need to modify the historic HVAC systems. Engineers need to be included in the discussions and informed of an interdisciplinary approach. We need to work towards an integrated building design and engineer approach. Object conservators are important for the understanding of a dialogue with directors and administration as they decide how to preserve energy. Don’t compromise your collection to save money. If you purchase an object you are making a long-term commitment to preserve it for the future.

Stephan Michalski discussed an overview of items that are important to environmental change, developments towards saving energy including the new 2011 edition of ASHRAE with a section on museum environmental control, and issues that need careful attention and understanding.

Stephan believes that one of the most important aspects of controlling RH is its function to control mold growth. Cold storage is best to prevent mold growth, though many museums do not choose this.

Choosing relative humidity settings for museum settings is generally easy with fluxes of +/- 10% as acceptable. Temperature is not important – it is mostly for human comfort. In the British Museum the reality is that they couldn’t avoid the range of 40-60%.

The biggest challenge is to choose an appropriate RH for artwork made of mixed materials – with regards to how the materials individually expand and contract. When the materials are mismatched the expansion and contraction causes stress and cleavage.

Terry Weiser brings up the challenge and importance for conservators to evaluate museum climate standards. The climate change conference IIC in London 2008, and the MFA 2010 meeting led to a re-evaluation of new standards with broader RH and T standards, which is good for the global movement of the green standards.

At the Walters they have begun to move set points, use less reactive materials and change to climate controlled vitrines.

Terry is not convinced that the wider RH parameters are ok. She is concerned that in tests we can’t model the reality of what objects have been through and it is premature to assume we know enough about hygroscopic materials. We have to evaluate the damage that happens to art at high RH with regards to dirt accumulation and pest control. Some objects/materials only need mold growth protection.

Many more objects will need microclimates as we replace case control for efficiency in environmental control. This will create more waste, require more energy and materials as we produce (and eventually change and dispose of) more storage and display cases.

Terry stresses, very thoughtfully the need to judiciously use the wider RH parameters and the need for controlled research. She alludes to the strong past trend for strict environmental control, which has now changed. We need to make our next steps as educated, well-informed professionals. Our guidelines form trends that can have strong repercussions.

Sarah Nunberg, The Objects Conservation Studio, LLC, Brooklyn, NY

June 5, 2010

Lars Andersen Helps Me Understand Freeze Drying

The WOAM coffee break area, site of many useful insights.

Lars Andersen Tries to Help Me Understand Freeze Drying

Lars Andersen has apparently written the most marvelous book on freezer drying, but it is only in Danish. Upon encouragement from a colleague and boldness from a beer on an empty stomach, I walked up to him and told him I had heard of this book, and was wondering if it would be easier for him to publish in English or for me to learn Danish. He laughed, and it was clear he was quite proud of the book and how accessible it was for many audiences because it did not involve lots of mathematical equations. But he is very busy with many projects and the book might not happen in English. He was kind enough to come up to me after my presentation and explain more about freeze drying to me.

Here is what I think I now understand about freeze-drying and PEG: at low temperature, ice forms, and because of the special qualities of water, ice is very pure. PEG molecules cannot be between the crystals of water, and so the PEG forms sheetlike shapes in the voids of the wood (let’s say we are talking about a big PEG molecule, like 3350.) These sheets go in various directions and make a nice supportive framework of struts. Then at low temperature, the ice sublimates directly to gas, which allows us to get around that pesky problem of capillary action. As I understand it, the problem with waterlogged wood collapsing on drying is largely about

    1) structure that is missing from deterioration (nicely handled by the PEG you put in) and

    2) the violent forces that water exerts upon the weakened wood when it evaporates (“evaporate” as in liquid changing to gas, and that is nicely handled by the solid ice skipping the liquid phase and going right to gas in sublimation.)

So to get rid of the water it needs to be in a freezer. Now, that process goes FASTER in a vacuum freezer dryer, because there is a vacuum and a heating element (it seems freezer drying gets slower as temperatures get colder…I never realized that before.) But the only big advantage of the vacuum freezer dryer is that it is faster than a non-vacuum freezer. Roughly twice as fast for small things like my basketry. Maybe up to 10X faster for big things like ship timbers. But beware, for lightweight little things sometimes the vacuum freezer dryer can toss things around in the chamber if you’re not careful. Oooops! And then there is that whole pesky eutectic point thing. The literature says you should avoid the PEG eutectic point of 55%. If I got this right, at a concentration of around 55%, the thermodynamics of the water and PEG system are such that water comes to a kind of happy balanced place in terms of energy and no more water wants to come off the PEG and make ice. So there is PEG with liquid water on its surface, not freezing into ice, and instead of making the nice sheetlike structures, it makes these massive weird gobs. Lars Andersen’s book has some great SEM images of these two very different looking PEG formations (the nice struts and the wired gobs at the eutectic) and you can see where the ice that does form in those gobs would have a hard time sublimating. The vapor would have a very crooked path to follow in order to get out.

Now I missed a bit of a point here, I think it had something to do with solving that by either making the temperature very very cold, or by keeping it in the vacuum freeze drier for a really really long time, so you are missing out on the benefit of the vacuum freeze dryer. And it is NOT AN ISSUE if you are using a non-vacuum freeze dryer. I also realize that my nice IPM freezer going down to -35C is not an advantage for me. The sublimation would actually happen faster if my freezer were not so cold. I could make this go faster by using a fan and some silica gel. But for me at this point, waiting a few weeks for a basket to dry is no big deal.

For a review of all the papers and posters at the 2010 WOAM conference, please see my weblog at http://ellencarrlee.wordpress.comhttp://ellencarrlee.wordpress.com.

WOAM ZOO: The Hybrid Animals

WOAM visits the conservation lab for the Queen Anne’s Revenge shipwreck.

WOAM ZOO: THE HYBRID ANIMALS

Let me tell you about the exotic creatures that I am most intrigued with after this conference. Tara Grant: working on treatment of waterlogged organics like fur, baskets, skin, feathers…she has archaeological experience in the field and that cautious AIC standards and ethics mindset I relate to. Plus, she’s been fighting the good fight for some time and has a database in her head of things that have worked and have not worked, and she’s been on the front lines over there at CCI for a long time. Cliff Cook: Also dealing with the stuff that is similar to my stuff in Alaska, with a similar cautious treatment philosophy and long CCI background that Tara has. Another observation: Cliff Cook is a good guy. He was very helpful in answering my many questions on many topics when I cornered him at the conference, and it seems like he has a long, long career of being very helpful as well as stepping up to the plate and doing behind-the-scenes work of the kind you don’t often get credit for, but I find really helpful in what I’m doing. There are not a lot of people who seem to be this hybrid of conservator-doing-treatments-according-to-AIC-standards and ethics who can also really grapple with the science and has a foot in today’s world of archaeology. And I guess I mean archaeology in the United States, and marine archaeology in particular. That’s the kind of hybrid who is most interesting to me, and who sort of speaks my language…Ian Godfrey: From what I can tell, he is more of a scientist I think, really, but the practical treatment stuff is also in his realm and he’s been at this a long long time. His talk was the last of the conference and pretty masterful. I am still trying to figure out all the factors that go into grappling with the right treatments to do and how to assess them in a holistic big picture way that comes out with a concrete result we can take to the bench but that is still scientifically backed up, and to see this man just put out a talk like that with such flare (and then wrap up with the most amazing images of penguins you ever saw…did you know he’s done a ton of work in Antarctica? Google him) well, it made me feel like I was seeing an orchestra conductor or something. He is also looking at non-wood organics, and WOAM is pretty dominated with the wood people who are finding solutions for shipwrecks and the like. If I understand correctly, these big shipwreck projects bring in the funding so you can attract scientists to help with the research. But what about ivory? Baleen? Skin? Hair? Bone? Fur? Feather? Baskets? Textiles? There is just not the same volume of research being done on that stuff, and it seems like Ian Godfrey has a special interest in that. Me too, and I think knowing more about that stuff archeologically will help us better preserve the stuff that is NOT archaeological but ethnographic, and by that I mean old stuff made from plants and animals that has not been dug out of the ground. Susanne Grieve: She’s in this very tiny category of conservators treating objects in marine archaeology in the US who have the kind of training I have (by this I mean graduate degree in conservation from a program that is tight with AIC-type philosophies: namely the NYU, Buffalo, Delaware, Queens, London and now Getty programs). In the United States, a huge percentage of our maritime heritage is being conserved/restored/preserved by people who are mainly trained by archaeologists and don’t follow the AIC standards and ethics. Granted, maritime stuff is really challenging and application of the AIC standards and ethics is complicated in these cases. But there are two parallel universes of practice going on in the United States, from what I can tell, and only a handful of other people have a foot in both worlds like this. I’m especially excited about the Susanne factor because she is in a teaching position that has potential for really interesting impact and bringing those worlds together. Quite a burden, but full of promise as well. Go Susanne! Gary McGowan Now there’s a sweet guy. You’re feeling a little shy at a conference with all these big names? Cling to Gary, he was so nice to me! He’s in private practice in the New York area and has seen lots and lots of stuff, plus kept his ear to the ground and heard about a lot of stuff good and bad. Katherine Singley is another one of those. Wish there could be an update to her book. It is still one of the basics on the bookshelf for this stuff. And Howard Wellman! One of those folks who stays very active in AIC but also attends archaeological conferences of all sorts. He had some really practical advice for me about connecting with archaeologists in Alaska at their next conference. He has also been very helpful when I have emailed questions to him, and this year he wrote me a recommendation so I could get grant funding to come to WOAM.

So these folks are primarily English speakers, and certainly there is a wealth of info in the folks for whom English is not the first language, but being new to this conference I was too shy to get face time with everyone. With a finite amount of time to make connections, I started by limiting the variables I needed to process. Language was one, but also my own lack of knowledge about which aspects of the ethics puzzle are the same and which are different in various parts of the world. I didn’t really get a chance to tap into the UK folks very much, although that’s gotta happen because they really understand the contract archaeology thing that is so intense over here in the US, too. Cultural Resource Management driven stuff. I know I am going to kick myself for not putting more effort into cornering Jim Spriggs in particular. I hope I get another chance in 2013, I have a feeling he is a vast reservoir of really important info. Please note, these are just my own observations about the way the world works and opinions about individual personalities. Perfect for the blog format, but keep in perspective that this is just how I am interpreting the limited info I have absorbed. There is so much more to know!!

For a review of all the papers and posters at the 2010 WOAM conference, please see my weblog at http://ellencarrlee.wordpress.comhttp://ellencarrlee.wordpress.com.

WOAM Business Meeting

Not a picture of the business meeting, just lunch! Around the table from lower left: Dana Senge, Khoi Tran, Gille Chaumat, Paolo Dionisi Vici and Susanne Grieve.

WOAM business meeting

This conference in Greenville had some 85 delegates from at least 15 countries, 43 papers (12 of them peer reviewed) and 13 posters. The peer review aspect is interesting. In academia, there is the great need to “publish or perish” but for many people, conference proceedings do not count toward their total of publications. Later, over beers, I had the chance to discuss this with Dutch environmental biologist Michel Vorenhout who explained to me that you get a certain number of points for getting your paper into a journal, or a book by a known publisher that counts (Archetype is one of those publishers, by the way.) And whether or not something counts depends on how often it is cited elsewhere. Science and Nature are the ones that are cited most, so they are worth the most if you get an article in them. Apparently, there is one big company that keeps track of all that and assigns the number value. As far as the WOAM papers are concerned, scientists tend not to take things seriously if they are not peer reviewed, and yet WOAM being a conference proceeding, it doesn’t really count for most folks. So scientists are likely to save their best research for publication somewhere that “counts.” For me, I liked the peer review because I felt like it was double-checking my work for really egregious mistakes before I had to get up in front of people. But with WOAM, there is also the Q&A period of critique and feedback during the sessions that gets published after each article, and this is a sort of peer review. As Cliff Cook said, “Everybody gets to kick the cat.” Having special issues of certain journals could make that work. Conservation and Management of Archaeological Sites is one such journal. But certainly we could not fit in all our papers in one issue, right? If you split it up, this info might be harder to find? People might miss out? As for Archetype, you have to pay them to publish the book, and then buy the book from Archetype. So there is an economic consideration at play there. Some journals, like SHA, can take several years for the findings to be published. The system WOAM has now puts things out faster. Here’s another issue: some people cannot get funding to come to a conference if it is not peer reviewed. One big issue that the group decided to tackle was which back issues of the WOAM conference are still available and who has them. Some are very difficult to find. We might even need volunteers to copy old ones. What if we printed fewer copies, and then put them up on the web for free? What about being on CD? Some folks are opposed to them being on the web for issues like copyright and control. In the world of science, there is a lot of pressure to make info free after three years or less. Folks discuss the idea of trying to put WOAM into JSTOR, where people could by articles one at a time. Studies in Conservation and JAIC are available there. Copyright for WOAM remains with the author, so people could email the author for a copy? Of course, authors don’t live forever. If we put titles of all the articles on the web, Google could find it more easily. All the abstracts are already in BCIN and ATAA.

Then the group discussed issues we plan to think about for the next three years and who would be the point person (mostly a formality for the ICOM-CC) These were:

InSitu Preservation (Michel Vorenhaut)

New Materials for Organic Conservation (Hartmut Kutzke)

Reconservation of Alum in wood etc (Susan Braovac)

Acids/sulfur/iron in organics (Vicki Richards)

PreConservation (post recovery) Storage (Sarah Watkins Kenney)

Materials Characterization, Standardized Assessments of Condition, and Assessments of Degree of Deterioration (Ian Godfrey, Katarini Malea, and David Gregory)

Post Conservation Display and Storage (Emily Williams)

Review of the Wood and Methods from 1987 Study (Elizabeth Peacock)

Challenges in Conservation (kristiane Straetkvern

Looks like there is solid support for the idea of Tara Grant becoming the next coordinator, with Emma Hocker and Khoi Tran being co-coordinators and several other folks being willing to pitch in and help. That will decided at the ICOM meeting in Portugal in 2010. Three places were suggested for a 2013 meeting: Australia, Istanbul, or Germany. The Australians were concerned about getting enough attendance in Australia, it’s such a long way to go and not much of a local audience there. Only about 20% of the room thought they’d be able to go there. The 1987 WOAM in Freemantle (which was a combo with the metals group) was not very well attended, and the proceedings were slim. Going to see the flying ship in Xanten was pretty exciting, but I think things are looking like Istanbul in 2013, and not just because Ufak promised us a belly dancer. But he did promise!

For a review of all the papers and posters at the 2010 WOAM conference, please see my weblog at http://ellencarrlee.wordpress.com.

http://ellencarrlee.wordpress.com

WOAM-TASTIC

Paolo Dionisi Vici squeezes into Susanne Grieve’s car to go to lunch at the WOAM conference

Imagine a field where the artifacts to be treated are ridiculously delicate and complex, as well as deteriorated. Imagine you have to make weighty decisions in a hurry, because the artifacts are going to get irreversibly much worse very fast if you don’t. Imagine you don’t have much time to make these decisions. Imagine the artifacts are often wonderful and amazing, with high exhibition and research potential. Ready, set GO! And don’t mess up! This is what we’re talking about with waterlogged material that was once plant or animal in origin. Since 1981, there’s been an ICOM-CC working group for Wet Organic Archaeological Materials. It meets once every three years and puts out proceedings. There are a few really special things about this group, and one of them is their reputation. Highly professional, very international, unusually welcoming and open-minded. And in a way, they have to be. Many of these treatments have gone wrong in the past. There is a lot of material for which there is no fully satisfactory treatment. Perhaps to a greater degree than many other areas of conservation, this group needs to learn from mistakes and dead ends. So it must welcome them. The call for abstracts well in advance means that you write up an abstract for what you hope will be your happy outcome, and then you must come and tell folks why if it didn’t turn out that way. And they will cheerfully say, “Thank you! Nice try! Most interesting! What can we learn from this if we put our heads together?” Maybe someone might pull you aside over a beer and gently suggest something you had not thought of, but they did not want to seem harsh in front of the group. Honestly, there are not that many people worldwide working on this kind of material, so we cannot afford to be isolationist. An innovative feather keratin treatment was been the buzz for a while, and someone came from Japan to describe it. Someone else from Denmark reported results from separate analysis in the next presentation, and the conclusion was that the feather keratin treatment is probably not the next big thing. But everyone wanted to hear it and glean what kinds of clues and insight there might be in the study of the material. Later, people were saying, “Isn’t there something going on in Italy right now with starch? What are they up to? What about the work in Mainz?” Those folks may or may not have success with their experiments, but they can rest assured they would be most welcome at WOAM. Some nice things about the structure: the conference is all one big session, not concurrent sessions. The poster folks have to get up and give a little verbal 5 minute summary. There is lots of group discussion. And maybe the best thing they do, is they write up all that verbal discussion in the proceedings!! As one delegate (attendees are called delegates) said to me, “When I read a WOAM article, first I read the abstract, then I read the comments at the end, and finally I read the article.” I think those comments and discussions published at the end really give the flavor of WOAM. Very intellectually curious and not interested in passing a judgment about good or bad, but rather a search for the useful.

Today is Sunday May 30th. Last night I was in tears because I missed my connection home and now I am stuck with 6 ½ extra hours of travel. But it is a blessing in disguise. This is the first time I have really had some clearheaded, well-rested, caffeinated time to reflect and process on the conference. During the conference, I was talking to people or attending talks from breakfast at 7am, clear through till my head hit the pillow, exhausted, at 10pm. In talking to people I was processing the information, but also taking in new information the whole time. Being there was exhilarating, but while I was in the middle of it there was little time for processing what I was learning and synthesizing new ideas. For a review of all the papers and posters at the 2010 WOAM conference, please see my weblog at Texthttp://ellencarrlee.wordpress.com.

Research and Technical Studies Afternoon Session, May 14, 2010

During the afternoon, Dr. Margaret G. MacDonald, presenting on behalf of her co-author Dr. Barbara H. Berrie, discussed “The effect of metal ions on early stages of curing in linseed oil models”. In an effort to gain a fundamental understanding of pigment-binder interactions, the

authors investigated early stages of paint film curing on the molecular level. The research focused on mechanisms driving these interactions and their effects on long-term behavior. The authors developed a series of experimental paint systems to model the interaction between ethyl linoleate (component of linseed oil) and various metal acetates. These experimental compositions remained soluble following polymerization allowing isolation for analysis. Samples were made under argon gas with varying concentrations of metal acetate. Sample thin films were cast on quartz plates (eliminating issue of oxygen penetration) and monitored using Attenuated total reflection Fourier transform infrared (ATR-FTIR) spectroscopy, ultraviolet-visible spectroscopy (UV-VIS) and fluorescence spectroscopy.

Based on results, the authors show that ethyl linoleate oligomerized films to form new carboxylates, as evidenced by loss of the C=O stretch peak at 1730 cm-1 and the formation of new bands between 1600 – 1500 cm-1. The presence of birefringent spheres with slight fluorescence may reflect a hybrid inorganic-organic framework structure in Pb-ethyl linoleate films. This suggests that there is some crystallinity at these sites and a possibly more thermodynamically stable end product. Further research is needed to delineate these structures and characterize their effects on overall paint film stability.

Dr. Joseph Swider, presenting on behalf of his co-authors Elaine F. Schumacher and Joseph G. Barabe, discussed “TEM as a complementary technique for pigment identification”. Transmission electron microscopy (TEM) can be used in specific instances for pigment identification, where morphological differences on the nano- and atomic scales are critical for pigment differentiation. The technique’s use is limited by the need for samples to withstand substantial heat during analysis. As well, samples must include features of interest that exhibit contrast on the nano-/atomic scale due to differences in thickness, chemistry or crystallinity.

Swider presented a series of case studies where TEM was extremely effective in identifying pigments including analysis of carbonaceous materials, differences between synthetic ultramarine and lapis lazuli, and iron tannate inks. Carbonaceous pigments appear similar on the macro-scale, but can be differentiated using morphological characteristics, which are best imaged using TEM on the nano-/atomic scale. Diffraction and elemental data also provides information that helps to identify specific carbonaceous pigments. Similar nano-/atomic

scale morphological data, obtained using TEM, help to differentiate between synthetic ultramarine and lapis lazuli, as well as TiO2- based pigments. Swider concluded that TEM’s high spatial resolution is helpful for characterizing unknown samples within these pigment classes, as well as pigments characterized by small particles. Finally, a web version of the McCrone Atlas of Microscopic Particles is available online and free for users.

Dr. Christina Cole presented her dissertation research in a talk titled “The identification of Early Eastern Woodlands quillwork dyes via LC-MS with a different approach to sample collection”. Quillwork objects, executed prior to 1856 and made by Native American groups

living east of the Mississippi River, were analyzed to identify natural dyes used during pre-industrial production. Literature associated with natural dyes (used during this period and geographic location) is based predominantly on primary source documents with little or no published scientific data.

Cole developed a method using a sample paper (1 mm x 1mm) swab to collect dye samples. This technique absorbs dyes in situ and dye samples measure approximately five nanograms. Cole tested the technique’s efficacy for liquid chromatography mass spectrometry (LC-MS) using prepared experimental dye samples. This technique is low-cost, low-tech and able to achieve fine sensitivity during analysis. Both unmordanted and mordanted dyes can be analyzed using this method.

Artifacts from five collections (Mashantucket Pequot, McCord Museum, NMAI, Peabody Museum, Harvard, UPenn museum) were screened by curators and Native Americans to ensure that no NAGPRA eligible or cultural sensitive objects were included in the study, while conservators identified artifacts with stable condition. Based on all these criteria, Cole sampled 53 objects to collect 126 samples from eight colors. Samples were selected to obtain the range of color distribution. All samples were extracted in situ from the quill cuticle.

Interpretation of analytical results identified a number of trends. Vulpinic acid, associated with moss found only in California, was identified on objects made dating to 1720 – 1750. These results suggest the presence of an early and extensive trade network between the Great Lakes region and California. Green quillwork was produced using a mixture of dyes, as no green dye materials were identified. Generally, green was produced using a mixture of blue and yellow, or, were the result of over-dyeing. Overall, there was limited use of European dyes. When used, European dyes were always associated with indigenous ones. There appears to be no trends in overall dye use, as a function of time. A number of previously unknown dye materials were identified, including a red dye associated with brazilwood, a wood limited to Brazilian rain forests. Further research is needed to delineate the trading network that resulted in access to the brazilwood material used during dyeing. Possible sources include trade of raw/unmodified brazilwood, recycling of brazilwood dyes preserved in traded blankets or reuse of exported brazilwood objects.