Category: AIC’s Annual Meeting

Friday, May 14, 2010

Objects Morning Session, 8:30am

The Restoration, Treatment, Scientific Examination, and Re-treatment of an Egyptian Limestone Relief from the Tomb of Ka-Aper

Presented by Kathleen M. Garland, Senior Conservator, The Nelson-Atkins Museum of Art

Right off the bat, Ms. Garland began her talk by admitting to occasionally feeling a need to be validated in treatment decisions by conservation science. I appreciated this as I think a lot of us feel this way from time to time.

After hearing a review of the history of piece, we learned that the relief was not in great shape when it was acquired. The surface of the stone was lifting off of the substrate, which made removing it from the wall difficult. Consolidation tests were performed in 1992 and it was found that methylcellulose and Kucel G darkened the stone the least, but they were not strong enough. In the end, it was consolidated with Butvar B98, 2% in ethanol/toluene.

After removal, it sat in storage for approximately 15 years due to a lack funding for research and treatment. Then the Mellon Foundation provided funding for research and consultations which allowed for comparison of the relief to other examples from the same tomb, such a piece in the collection of the Metropolitan Museum of Art. Conservation scientists were also consulted and a variety of analysis undertaken to better understand what was happening at the surface of the stone and what treatments were previously done. Additionally, Egyptologists were also consulted for their expertise and knowledge.

The conclusion of the talk was that undocumented pieces such as this must rely heavily on advice from others in a variety of specialties. This is a theme that I have certainly noticed in a number of talks during this conference and one that undoubtedly cannot be overemphasized.

Thursday, May 13, 2010

Textiles Morning Session, 10:30am – 12:00pm

Comparative Approaches in Textile Conservation: the Whalley Abbey Vestments and the Whalley Abbey Orphreys

Leanne C. Tonkin, ICON/HLF (Institute of Conservation/Heritage Lottery Fund) Conservation Intern at the People’s History Museum, Manchester, U.K.

The first talk after the morning break was given by Leanne Tonkin and she discussed the 2007-09 treatment of the Whalley Abbey vestments and orphreys. These treatments were conducted as part of her training at the TCC.

Ms. Tonkin began with a brief historical background of the vestments. It has been 20 years since they were last treated, and a lot has changed in the field since then. At the time of their last treatment, the focus had been on cleaning to create a newer and fresher look. Ms. Tonkin had the opportunity to discuss the previous treatments with the conservator who performed them. When asked what should she would do differently now, the conservator’s response focused on surface cleaning and vacuuming: “The washing I’m not sure about; solvent dry cleaning I’m not sure about now…I’m tending towards hands-off….”

When compared to the altar frontal, it became clear that aesthetic was a bigger concern in the original treatment of the vestments. The altar frontal was found to be less altered from the previous treatments and exhibited more of the original handwork.

Current treatment included an SEM-EDS analysis which revealed corrosion where metal threads are joined. The appearance of the metal thread showed improvement after a cleaning treatment. Additionally, local humidification of the altar frontal was performed using Melinex barriers, moistened blotting paper, and Symatex.

The comparison of the treatments highlighted shifts in the ethics over time. Priorities during the last 20 years have changed in how textiles are viewed and treated.

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The Effects of Long Term Display on Previous Treatments

Abby Zoldowski, Assistant Textile Conservator, Peebles Island Resource Center, New York State Parks, Recreation and Historic Preservation, Waterford, NY

Ms. Zoldowski’s talk discussed two bedcovers at the Schuyler Mansion, which was occupied by the Schuyler family from 1763-1804 and was acquired by the state in 1911. Both bedcovers have undergone three previous treatments and faced a nearly continuous exhibition in-between. Ms. Zoldowski gave an in-depth look at the treatments over time and the effect the long term display had on them.

To begin with, bedcover #1 underwent a treatment campaign in 1976. An AT image was shown, and the initial condition was described as weakened, rotted, with losses and breaks. The records indicated a treatment with sodium perborate overnight, wet cleaning, extensive rinses, extracted, and then air dried with cheesecloth. It is not known how fibers reacted to this. Yellowing was probably decreased, but fibers were likely further weakened. The bedcover was placed back on exhibit after this treatment.

The second time it was taken off display was 1982-84. It was still described as weak and brittle. This time treatments were listed in 1982 as wet cleaning with Orvus, air dried (no drying cloth), crepeline overlay. Treatment was not finished at that time, so it was then again treated in 1984 with another wet cleaning with Orvus, air dried, (no drying cloth), and further stitching. Accumulated oils and surface grime were the reason for the second cleaning and stitching campaign. After treatment, it was requested that bedcover not be put back on display, but it was put back on exhibit anyway.

It was taken off display again for a third round of treatment in 2009. It was very fragile and prone to breaking when handled. It was surmised that the ’76, ’82 and ’84 cleanings may have altered the tension in the fibers. Conservators took off the crepeline overlay and tested the pH of the bedcover. The pH range was 5.1 (stuffed areas) to 4.8 (unstuffed areas) before treatment. Discoloration of the textile was treated with wet cleaning and this increased the pH to a range of 6.5 to 6.6 after treatment. However, it was noted that discoloration had not been altered significantly during this treatment. It was determined at this time that the bedcover could not withstand any more stitching, so it was rolled on a padded tube and finally placed in storage.

The first treatment of bedcover #2 in 1976 was almost the same as that of bedcover #1, with the addition of an acetic acid rinse in-between initial rinses and extraction. And, as was the case with #1, this bedcover was put back on display after treatment.

The second treatment occurred during the same time period as the first bedcover and included wet cleaning with water, air dried with drying cloth, local Stabilex overlays and local in-fills. Its condition was noted as fragile and exhibition recommendation was for 1 year, after which it should be placed in storage. However, it was instead left on display for 19 years.

The 2009 condition assessment of bedcover #2 noted that it was brittle from light damage and a number of holes were evident. Treatment was similar to that of the first bedcover. Discoloration was not significantly altered, nor was the pH range. However it was noted that the fabric had a softer hand after treatment. Bedcover #2 was also rolled on a padded tube and placed in storage.

An interesting observation was made Ms. Zoldowski at this point on the role of conservation and the conservator during the last 30 years. While recommendations for the removal of the bedcovers after the first two treatments were ignored, the recommendation after the 2009 treatment was followed. This suggested to the author that curators may be more willing to listen to conservators and pay more attention to object care today than they did 30 or even 20 years ago.

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Evaluation of Costume Supporting Forms for Major Exhibitions: George Washington, Benjamin Franklin, Abraham Lincoln, and First Ladies

Sunae Park Evans, Senior Costume Conservator, Smithsonian Institution, National Museum of American History, Washington, DC

Ms. Evans gave a very engaging talk discussing forms created for various exhibitions of clothing from historical figures. A suit from Benjamin Franklin and a uniform of George Washington’s were the first items discussed. The historical significance of both was covered. Franklin’s suit had been in storage for a long time and had light damage from previous display. In honor of his 300th birthday in 2006, a suitable support was created and it was exhibited for 3 months.

Washington’s uniform had a bit of a different history as it had been on display almost continuously. The uniform came to the Smithsonian in 1883 and an 1889 photograph showed a man modeling the outfit. When placed on exhibit, legs and a head were often not included in the mount. However, during the 60’s and 70’s full figures with heads were created for display purposes. For recent exhibitions, historical accuracy became an important aspect in displaying these artifacts. In 2000, Washington’s boots were recreated by a bookmaker in Colonial Williamsburg who pointed out that Washington didn’t like pointy toed boots and preferred them rounded.

Furthermore, a (somewhat humorous) account was given about the groin area of the uniform and the proper positioning of the mount for exhibition. Ms. Evans delicately covered the subject, mentioning that tailors at the time would have asked their customers which side they preferred and then tailored the pants accordingly.

On the 200th anniversary of Abraham Lincoln’s birth, a suit of his was displayed along side one of Mary Lincoln’s dresses. Due to their height differences, they didn’t like being photographed together, so creating forms for this was a unique opportunity to see them side by side. The fully supportive form for Lincoln’s suit was contrasted to an image of the suit displayed in the 1920’s where it was simply hung on a hanger, with his hat on a table.

And last, but not least, an exhibition of First Ladies’ dresses in the 1930’s quickly became a very popular exhibit for the Smithsonian’s American History museum. A special gallery to exhibit the gowns was designed to minimize light and environmental effects in 1992. A 6 month rotation was recommended, but the gowns were kept on display for 14 years due to their popularity. They were then again reinstalled on exhibit in 2008 after the expansion/renovation of the NMAH.

A few examples were taken from this exhibition. In 1992 forms for first ladies such as Martha Washington, Julia Grant, and Helen Taft were built that show the limitations of mounting materials of that time. Those mounts were created from fiberglass. Better fitting mounts were created from ethafoam in 2008. The ethafoam, it was noted, is preferred because it is inert and lightweight. Stress and strain in the outfits were analyzed to create the most appropriate form for each situation.

Presented by Pilar Hernandez Romera, Photograph Conservator, Ottawa Museum Network (see program for other co-authors)

Such a practical topic – the opening incident a spill on photographs discovered after – no surprise – an opening at a museum… no witness. The museum needed assistance.

Tests objectives – to find an appropriate cleaning method. To know how much time one must react. To discover the liquid.

The testing involved observing the effects of beverages on the emulsion…. An exhaustive list of the possible suspects or culprits developed that might be gel-like – not red wine, for example.

Investigated techniques for removing stains from fabrics – using absorbing materials that may include blotter, filter paper, cotton swabs, and paper towels… Teas diagram used for the solvents… but what are the components of beverages? Checked out the principal materials.

Tested water, ethanol, and acetone. Tested on glass and gelatin silver plates. Various beverages dropped on surfaces. Practical focus appreciated. Liquid absorbed best by blotter – cotton swab not effective. Residues may be glued to the blotter.

Water not effective – very slow. Ethanol did not solubilize the materials. Acetone left foggy appearance.

Mix of 20-80 water – acetone had the best results in solubilizing the residues. Popular housekeeping techniques are clearly not possible.

Second sample prepared with reproduction of black-and – white print hung in the same way with 10 ml of the beverage. (Interesting methodology.) Checked progression of the drops when applied. (based on viscosity and composition of the beverage.)

Some of these materials caused stains that could not be removed. Coke and Coke Light and Beer could not be removed especially. Effects include stains. Emulsion deformation and swollen emulsion caused by sugar inclusion.

Cleaning tried with Gel acetone Klucel G 8%. Good results with champagne and white wine. Beer as well. Coke and Coke light staining remained – no cleaning possible. Attempted to study multiple cleaning.

RESULTS

Blot the excess.

Water-acetone 20-80 mixture to solubilize residue.

Time is crucial.

Acetone gel can be applied – required more research.

Lager beer caused less damage… sugar and viscous liquids cause swelling. Coke problematic.

Water and champagne the best – here the drinks may be limited for receptions that occur near receptions. No questions.

Luisa Casella, Andrew W. Mellon Research Scholar in Photograph Conservation, Metropolitan Museum of Art

Based on her work previously presented at PMG and VERY significant to the field. This presentation outlined the autochrome process and degradation problems. Introduced in 1907 -1935 – Lumiere Company. Conservation issues – physical fragility and sensitivity to temperature, relative humidity and light. Research led by Bertrand Lavedrine.

Current policy is NOT to display autochrome plates. True of many cultural instiutions. Dyes identified are listed.

Dyes must be tested under anoxia conditions. Light fading of each dye required. Dyed starch samdwiched between varnish and on glass plus dyes in filter paper tested as well as historical samples and varnish layers on glass without dyes. Spectophotometric data gathered.

Carefully prepared anoxia set up described. The caps failed originally but this challenge was addressed. 54 days in light fading unit or 2000lux for 9 hours per day over 7 months was equivalent exposure. Full light exposure change noticeable more in oxygen than in argon. Varnish layers were protective. Setoglaucine demonstrated most change in OX and AR. This is the most light sensitive dye in the screen. (blue violet).

Analysis of these samples are interesting. Yellowing under anoxic conditions are visible. Changes at all levels of light exposure. Varnish changed much less under argon conditions. Greater degree of yellowing with sample exposed in OX. Auto-oxidative degradation – similar to that documented in paintings conservation literature. Increasing fluorescence of unprotected areas – i.e. those areas exposed to light.

Overall change is reduced under anoxic conditions. Extensive silver mirroring present under ageing and oxygen exposure. Very interesting and unexpected.

Benefits of using anoxic conditions possible. Sealed package designed. This work is in progress. Historical plates – unexposed – used with the layer of silver removed. Oxygen scavengers used and aluminum film on the edge.

No UV. No heat. Good white balance. Low energy such as LEC Panel from E-lite tested. More neural light possible. NOT bright enough for rendering details of the autochrome. Lite Pad resulted in excessive heat. Care should be taken in using this in a display case. OLEDs may be promising but were not tested here as they are not available in the US yet. Anoxia reduced light fading within certain limits of light. Confirmation of extreme light sensitivity of these dyes is clear.

Can we look at specific wavelength that cause fading and can these be excluded? This is being investigated.

Mirasol Estrada, Andrew W. Mellon Advanced Residency Program

Neither Mexican nor a suitcase. But stunning in historical value. Three boxes that include uncut rolled negatives by Robert Capa and others who documented the Mexican Civil War (1936-39). The journey of the boxes is symbolic. Cornell Capa was looking for the negatives which were not discovered until 2007. The discovery was featured on NYTImes published in 2008. Strong visibility to the field.

Photographers represented – Robert Capa, Gerda Taro (first woman war photographer to die on the frontlines), and David “Chim” Seymour.

Note that work created by Capa may infact be created by Endre Friedmann and Gerda Taro.

Concerns – ICP asked GEH for assistance focused on handling and reproduction. Materials remained at ICP.

Condition: All nitrate. Tight curl. Generally good condition. Filmstrips cut. Broken sprocket holes.

A wonderful object that offers important challenges associated with context. Maintaining the meaning of the format is essential. No moisture to be used owing to potential risk. Balance between preservation and access mandatory.

How to handle curled film? Scanners not option for rolled films and/or recording of all edges. Scanner for motion picture technology not possible owing to broken sprocket holes. Film viewer allowed safe access. Manipulation was modified to allow the print to stay flat using two pieces of glass to hold edges of the film. Planar Film Duplicating Device developed to be used in copy stand. Digital or analog capture possible. Minimal stress to film. A creative solution. The resultant images are exceptional. Loss of definition was a concern but not reality.

Newton rings resulted. These were eliminated with the use of a very good quality glass.

Cold storage proposed for long-term stability. Kept in their original shape and placed in archival box with mat board included to absorb moisture. Original boxes were stabilized and facsimilies created in acetate for the original boxes.

ICP is preparing an exhibition in September. Check out ICP website for more information on this treatment and research project on NOTESON PHOTOGRAPH.

Questions – was any of the film cleaned prior to duplication? Superficial cleaning recommended with compressed air.

Theresa Voellinger, Paper and Photograph Conservator, National Park Service

Initial estimate of materials for film base was 15 billion but this could be double. Working with 250 park sites. Approx 100 sites will get individual freezers. Six site will consolidate into cold storage vaults. Logistics is complicated. Uniformity is not easy. Limited on-site team members and fully trained staff.

Develop a training tool. From curators to rangers – the training needs were great.

Check out NSPgov site and search museum and cold storage. Includes short video clips and this site is VERY useful for training of all kinds. Also interactive. And easy to use. Resource tab has many PDFs and links that are hugely important. Basic info focused on various audience. Sarah Wagner served as lead consultant.

Three new Conserve O Grams created.

Decision trees may be of special help identify film base. This information is needed worldwide and must be shared broadly. Translations are needed.

Cold storage vault construction and associated interview of interest. Cost, energy consumption and space may make this more efficient AND cost effective. Acclimation also explained.

The work continues – this has helped to create common ground of understanding.

Questions noted that this was a superb model. Time to create site was significant. The results are impressive. Finding aids for cold storage remain a constant problem. Spanish translation is possible. This is WONDERFUL resource for the field.

Elena Bulat: At Weissman Center, Harvard University with 9 million images.

Rubber cement adhesive – in preparation for an exhibit of advertising photography. Collection is 260 photographs many mounted with rubber cement adhesive with back and window mats. Silver gelatin and chromogenic color. On gelatin emulsion removed with 100% ethanol and cotton pad. Not removed from the verso. Removed smoothly and easily. Don’t use q-tips just use cotton pad wrapped around finger.

Use Klucel G poulitice (10%) like an MC poultice – in this case to remove PVA. Here black paper was adhered to the reverse of carte-de-visites. Mechanical removal followed by poultice of Klucel G. Free solvent resulted in staining. May not work for all PVAs.

Burnished scratch reduction on silver gelatin prints – in this case slightly moist cotton swabs that are “patted” on and off. Step-by-step offered renewal for the scratched area.

Kallitype identification with XRF. Many institutions have portable XRF. This image was in the lab for silver mirror reduction but emulsion layer was not visible under magnification which was surprising. XRF was used. Hard to identify Kallitype from platinum or matte silver gelatin print. Comparison made using known sample. And comparative study of the album of photographs from the same time period. Similarities present in known Kallitype and analyzed sample. Presence of silver mirroring is of interest here owing to the absence of a gelatin layer. Is this possible? Doug Nishimura consulted and noted that this may be possible if the photograph is coated. Determined to leave mirroring intact.

Brenda Bernier, Weissman Center, Harvard University

Brenda notes that in the library discussion group there was an excellent presentation. Synthetic leather for book repair from NYPL. They have been trying to get a synthetic that mimics leather for book repair. They made a silicone mold of leather and used acrylic gel and paints to fill in the mold. The results looked good and the materials can be shaped. Check out the Book and Paper Annual or contact NYPL.

Sara Shpargal notes her experience with replication of missing cover that worked very well. See Sara if you want more info on case treatment as well.

Nora Kennedy, Sherman Fairchild Conservator of PhotographsMetropolitan Museum of Art

Photographic Information Record launched last year – an artist’s questionnaire. Involved conservators, curators, and collection managers. This can be downloaded from the AIC website under resources. But how do we get photographers to fill this out? Nora and others are pushing this everywhere. Writable PDF so it has been working well at the Metropolitan. Ideally something that photographers fill out automatically. New translations as well in the works.

Presented by Dr. Bill Wei, Senior Conservation Scientist of Netherlands Institute for Cultural Heritage, and representing work by others cited in the program

Dr. Wei presented primer on electrocleaning and he notes the he stumbled into this project. Part of project on Objects in Context – cleaning and perception.

This project uses case studies over the next four years to find out what is acceptable and what is readable? Dr. Wei has been looking at paintings, photographs and outdoor sculpture.

General philosophy – bring conservators and art historians and scientist together to collaborate.

Electrochemical cleaning – brief summary presented including simplified explanation of reduction and oxidation. Interesting diagram showed PT as the wand rather than Ag. Electrolyte selection and level of conductivity (potential) is key. Potential = Current x Resistance. With daguerreotype one moves the potential but in industry variable is current density. “Pen” can be used. Allows one to control the cleaning rate at a safe potential. Allows one to work locally. Distance is another variable.

Can this (electrolytic cleaning) be controlled? Yes. Note differences between simple metal and daguerreotype are more complex. Gold layer is not continuous. Mixed electrode.

CONCLUSIONS:

Not saying he is “for” this method of cleaning but trying to make it less mysterious.

Examination of silver tarnish – using sterling silver plates that were exposed to barium sulfate. Looked at different cathodic potentials.

Examination on original plate. -1.3volts potential used. PT electrode. (Note these are very expensive.) Change in larger particles under magnification – they are present but broken up. These may be oxide particles. This is simply a proof of concept. Image is more readable and no major change to surface.

Additional research required. Are there copper deposits on the surface? Silver deposits? What is the significance of the degradation of the larger particles under magnification – this research will continue and focus beyond electrochemical and using a variety of techniques.

Ethical question of cleaning not addressed but we must all consider and be well versed in conservation theory as presented during our (excellent) general sessions.

Restoration ethics – perception and readability – all key. Blind perception testing will ensue using different methods for evaluation by conservators.

In terms of future research keep in mind the potential presence of coatings. Dr. Susan Barger examined the micrographs presented in the talk (from an image purchased on EBay) and explained that this is a not-so-good daguerreotype owing to variety of particles that are not well formed. She further noted that etching visible may be from cyanide cleaning. Will further examine vertical and horizontal cleaning.

Debbie Hess-Norris, Henry Francis DuPont Chair of Fine Art ice Provost for Graduate and Professional Education and Chairperson, Art Conservation Department University of Delaware

“Challenge and Strategies in the Preservation of Photographic Collections: Here, There, and Everywhere Across the Universe”

Hess-Norris participated in the Salzburg Global Seminar Connecting to the World’s Collections: Making the Case for the Conservation and Preservation of Our Cultural Heritage, a joint IIC and IMLS presentation in late 2009. This was a continuation of the IMLS Connecting to Collections national initiative, and brought together people from across the globe to talk about the current state of photographic collections and preservation. The Salzburg Declaration was later released. PDF’s of the sessions and more information can be found on the IIC website.

Hess-Norris gave an information rich presentation. My notes are mostly bullet points as I was trying to keep up with her. Hopefully her presentation will be written up somewhere. The main overall themes from the conference were:

–paradigm shift form traditional perception of culture as elitist

–must work to build international connections and include policy makers and the public

–avoid knowledge and storage of knowledge in silos, collaboration is essential

–learn from indigenous peoples to keep their culture alive; teaching must not be impose but requested

–increased use of technology, blogs, social networks, websites

–work top down and bottom up

–cast global challenges as opportunities not barriers, be flexible and allow for compromise

–heritage preservation must be represented in forthcoming climate change treaties

–must balance preservation and access

Hess-Norris covered these themes from the conference and the subsequent conversations that have been happening via email.

–Advocacy and public awareness

–Conservation in developing world

–Indigenous communities, access and cultural rejuvenations

–Emergency preparedness

–Collaboration

–Sustainability

–Keep discussion going

The Salzburg Declaration

–affirmed value of cultural heritage

–urged cultural heritage sector to work together

–integrate cons activities into economic initiatives

–raise public awareness

–strengthen research, education and exchange of knowledge

–responsible conservation strategies

Theresa Anne Voellinger, Paper/Photograph Conservator, NPS Harpers Ferry Center

“National Park Service Service-wide Initiative for the Preservation of Film-based Media: Update and Presentation of Multimedia Training Program”

This is the fourth year of this project which seeks to provide stable cold storage for film based materials and train NPS staff in how to identify, package and store these materials. There is an estimated 30 million items in the NPS system that could benefit from cold storage. They are working with 250 Park sites, about 100 of whom have collections that will get individual freezers. The other sites will get training, including the new web-based training module(also available on videotape from NPS).

The training covers the purpose of cold storate, identification of different media and deterioration characteristics, purchasing a freezer, packaging materials for cold storage, blanket purchasing agreements, etc. The tool combines written and video documentation.

Three Conserve O Grams on Cold Storage for Photograph Collections have also been developed.

An Overview 2009

Using an Individual Freezer Unit

Vapor-Proof Packaging

Dare Great Things: Questions on the Restoration of a Series of Colonial Paintings

The fourth talk, Dare Great Things: Questions on the Restoration of a Series of Colonial Paintings, was presented by Conservation Scientist Federico Eisner-Sagüés and co-authored by Carolina Ossa-Izquierdo, Painting Conservator, Centro Nacional de Conservación y Restauración, Santiago de Chile

Eisner- Sagüés is a scientist who participated in the conservation of 17 large scale colonial paintings from the 17th century known as the Serie Grande de Santa Teresa. Owned by the Monasterio del Carmen de San José in Santiago Chile it is one of the few complete colonial series in Chile based on a previously conserved series of pictures painted by Espinoza de los Monteros. Inspired by Flemish engravings the paintings have been and continue to be very important to the religious mission in Chile. While many religious paintings and sculptures are seen as art today, these paintings still serve to indoctrinate the public when they visit the convent where they are located.

The author discussed the different actors that participated during the course of the major conservation project: owners, financiers, curators, conservators, and historians. The restoration took 20 months with a team of over 20 people with an objective to restore mechanical stability and original aesthetic, as well as to learn more about colonial painting. He briefly discussed his role as a scientist, to provide missing pieces that history could not. Before and after images were striking and the treatment process was observed by many art historians throughout the process.

An exhibition was held from August – September 2009 at the National Fine Arts Museum where the public expressed great interest in the paintings as well as videos displaying stages of the treatment. A book accompanied the exhibition and the press showed great interest in the show.

Today there are 17 colonial paintings in the Mother Teresa Monastery in Santiago, Chile. Before the exhibition three were in private hands, but the group has been united. As a result of the project there is now a new trained group of young conservation professionals in Chile. Those who financed the project received a copy of the publication and additional copies have been disbursed to libraries and institutions in Chile and around the world. One of the nuns at the monastery was somewhat skeptical at the beginning of the project, but now sees the purpose as the faithful enjoy praying in front of the paintings, while history lovers enjoy the imagery and the materials.

Eisner-Sagüés concluded by emphasizing how important the interdisciplinary approach was for this project and for Chile and left us with the words below.

Dare Great Things because often our actions begin with dreams and thoughts.

– Santa Teresa de Jesus

Flexible Thermal Blanket and Low Pressure Envelope System in the Structural Treatment of Paintings on Canvas

Nina Olsson a Conservator in Private Practice from Portland, Oregon presented her paper, co-authored by Thomas Markevicius of the National Gallery of Canada, Ottawa, on the development and use of a Flexible Thermal Blanket and Low-Pressure Envelope System in the Structural Treatment of Paintings on Canvas.

Olsson opened by asking what if you could roll up your device like a blanket and take it to a work site when treating a large format painting? She discussed the history of the hot tables and its use for lining while explaining her search for a 20th century heating device. She stressed that the key issues were minimal intervention when lining and relining and trying to replace existing methods with more selective approaches. There are currently hot tables of various sizes and models, but for the most part they have not changed since the 1980s. They are often so large that they can only be used in a fixed location.

Olsson then introduced the flexible silicone rubber thermal blanket from Instrumentors Supply located in Oregon City, Oregon. She has been using the blanket on paintings owned by her and colleagues since 2003. She explained that it essentially has shorter heating and cooling times and overall uniform heat as compared to hot tables.

She explained that the concept of a heated blanket was not new and showed an advertisement for a conductive rubber heated blanket by the US Electric Co. in 1944. Originally designed for military use the electric blanket was eventually available to the general public and has gone on to be utilized in the aerospace/space craft industry. Its use has included wrapping any number of objects to warm them, such as blood, and can even be found inside laser printers. Electric blankets are not new to conservation and are known to have been used as early as 1959.

The device Olsson was presenting was developed in conjunction with Instrumentors Supply. The blanket is made of silicone on the outside and is resistant to moisture. Internally there are etched wound wire foil heaters that are thin and lightweight with a total thickness of 1.4 mm allowing for great flexibility and the strength of fiberglass. The pads can be purchased at custom sized and shapes. A solid-state relay switch with a thermocouple can be used to operate the pad allowing for precise and steady temperature within .1% accuracy. It can be used at 120V or 240V determined by watt density requirements. The temperature parameters will not exceed a maximum temperature. It can be used with a solid state dimmer but with less accuracy.

Olsson went on to show thermal images to illustrate the overall even heating of the thermal blanket. While the hot table from the 1950s showed fairly stable heating IR thermography of the blanket was definitely more even with minimal fluctuations in temperature. The blanket hits target temperature in 12 minutes, while the table takes 20. She explained that engineers are currently working on advancements to the wound wire elements by laminating them with copper mesh which grounds them for improved safety and will provide for and overall even current.

Additional selling points included that the blanket can be used locally or overall, with suction, vertically, and with an envelope system. Sample treatments were then shown which included on site treatment of two large-scale murals. Olsson concluded by recapping that the blanket is easily transportable, easy to store, and low cost. And in the future there is potential for the elimination of the internal wiring. Scientists in Tokyo are working on an ultrathin, stretchable, transparent mat with a rubber like matrix that can conduct electricity and stretch up to 7%!

The silicone blankets are about $1000.00 for 36″ x 66″. Again custom sizes can be made and the control unit/box is separate but I believe it came in under $1000.00. This blogger thinks that overall this blanket seems like a great alternative for anyone with a small studio, who needs to do work in situ, and/or who can’t afford a more traditional hot table.

The author was distributing contact cards during the Paintings Luncheon so that those interested in the blanket could contact her with questions. She can be reached at ninaolsson@earthlink.net

[Bloggers Note: Prices and product specifications may not be exact. Please contact author for more information]