Specialty Sessions – Page 22 – AIC Blog Archives: Conservators Converse

Health & Safety and CIPP Call for Studio Design Submissions

Have a question about selecting a fume extractor for your studio? Or how you can safely solder or spray paint indoors? Or what studio work is never smart to do inside an apartment or condo? Have a basement or garage home studio renovation or DIY example you’d like to share?
This year in Miami, CIPP and the Health & Safety Committee will be hosting the Lunchtime Lecture, Studio Design Challenges–Creating a Safe and Practical Space (Wednesday, 12-2pm), which will be led by architects and engineers from EwingCole. Organizers are requesting questions and real-world examples from individuals operating private studios to be included in an extensive Q&A period following the formal presentation.
AIC members are invited to submit your studio design questions as well as examples of creative ways for overcoming challenges that you may have already implemented in your own space; examples from both home and commercial spaces are welcome. Submissions should be related to health and safety issues and can include, but are not limited to: fume extraction, chemical storage, fire/electrical safety, and ergonomic workspaces. For example, you may have created or seen a DIY exhaust system and would like to know if it is actually effective or potentially hazardous!
Please indicate whether you would like your name included for credit, or whether you want to remain anonymous. For photos, also include a brief description and applicable photo credits. By providing your questions and/or examples, even if you request your name not be used, you are agreeing to include them in the lecture as well as any published materials. Submissions are welcome from all AIC members, but priority during the presentation will be given to individuals registered for the lecture; those not included at the meeting may be addressed in post-conference materials.
Please send submissions as soon as possible, but no later than March 1, 2015, to Health & Safety Chair, Kathy Makos, kamakos@verizon.net.
You don’t have to wait until May to get answers! Members of the EwingCole design team will try respond to questions posted in the comments below or may contact you to discuss your submission if you provide your contact information.

42nd Annual Meeting – Book and Paper Group Session (BPG), May 30, “Salvage of Paper Materials from the Flooding of São Luiz do Paraitinga” by Fernanda Mokdessi Auada

On Friday May 30th, Ms. Fernanda Mokdessi Auada presented an account of the joint salvage effort undertaken by the Nucleus for Conservation of Public Files of São Paulo (APESP) and the Nucleus of Restoration-Conservation Edson Motta, Laboratory del National Service for Industrial Apprenticeship (NUCLEM-SENAI) following the 2010 flooding of São Luiz do Paraitinga, Brazil. Collective gasps went up from the audience as Auada showed photographs of the devastated city. Among the images was the city all but subsumed by the Paraitinga river, and shots of devastating structural damage to the city’s principal church (São Luiz de Tolosa) and its municipal library.

During the flood of 2010, the fall of the city’s principal church

Thousands of documents, over 15 linear meters in total, were immersed in the flood waters for over 20 days. The papers related primarily to the population’s citizenship and legal identity, making it vital for conservators to save the information contained in the wet and moldy files. Despite the grave condition of the documents–and the challenge of having virtually no money or trained support staff–the overall salvage was a success, Ms. Auada said.

The documents arrived for salvage in three allotments. The first two allotments were treated manually, using traditional flood damage salvage procedures. First, the documents were separated and air dried flat on top of absorbent paper. The documents were then individually documented and inventoried during dry cleaning, these steps carried out in a dedicated cleaning area. Documents that could not be separated mechanically after drying were separated while immersed in an aqueous bath. Papers soiled with heavy accretions of dirt and mud were washed to recover legibility. The papers were then mended, flattened and rehoused in paper folders and corrugated polypropylene boxes. Incredibly, 95% of the documents in the first and second allotments were recovered.

The third allotment, from the Public Ministry, proved to be more problematic, calling for radical treatment. These documents arrived at the APESP three months following the flood, after having been stored wet and housed in garbage bags. Upon drying the materials, it was determined that the extensive mold damage would be impossible to treat using traditional methods. Representing a “worst-case” scenario, this allotment of 176 files was submitted to decontamination by gamma irradiation. The moldy documents were packed in corrugated cardboard boxes and sent to the Radiation Technology Centre for Nuclear and Energy Research Institute (CTR-IPEN) at the University of São Paulo. While still within the cardboard storage boxes, the documents were dosed for disinfection (not sterilization) at 11kGy. This was the first time this type of salvage procedure had been carried out in Brazil.

Following irradiation, the papers were separated and dry cleaned using brushes. The dry removal of the mold spores proved easier and faster than the first two non-irradiated allotments, with sheets separating easily. Perhaps most importantly, the biohazard was eliminated, eliminating the need to quarantine the documents during documentation and dry cleaning. Ms. Auada described the costs of the treatment as acceptable, even within the project’s meager budget. The irradiated documents will be monitored for long term effects of the radiation, with polymerization of the cellulose being of primary concern.

42nd Annual Meeting – Textile Session, May 30, “Stressed about Pests? A Panel-led Discussion on Integrated Pest Management” Moderators: Bernice Morris, Patricia Silence, Rachael Arenstein.

This session included three presentations on Integrated Pest Management (IPM). The first speaker, Bernice Morris, is the IPM coordinator at the Philadelphia Museum of Art (PMA.) Bernice said that IPM began in earnest at the PMA in 1990. She has built on this foundation, developing an IPM system consisting of dividing the museum into risk zones, the use of barcoded (numbered) blunder traps (with pheromone lures as needed), and iPhones outfitted with barcode readers. The iPhones scan the bar code on each trap. The pest type and count are entered, and the data is sent to a computer, becoming a row on a spreadsheet. This makes the gathered data accessible for analysis. The number of traps and the frequency of monitoring are dependent on zone type. In addition, all museum staff are now aware of the importance of prevention and vigilance. The staff has a “bug hotline,” and Internet reporting for pest sightings. It is a very low cost system with the exception of the iPhones, and for those with moth problems the pheromone lures are expensive but worth the investment. The textiles in the collection are most vulnerable while moving in and out of the galleries, and the museum. New acquisitions and loans come into the museum wrapped in plastic. They are isolated and examined, and if evidence of infestation is found the objects are treated with low temperature treatment or anoxia treatment to kill all insect life stages of the infestation.

Patricia Silence is the Conservator of Museum Exhibitions and Historic Interiors at the Colonial Williamsburg Foundation (CW). As she said it is “the oldest and largest outdoor living history museum in the United States.” CW had always depended on outside pest management professionals. She and her colleagues developed a vision of what a successful IPM plan would accomplish: “prevent harm to people, collections, and buildings, use minimal pesticides, and foster a sense of ownership of the IPM program in the foundation employees.” Due to the complicated interconnected nature of the collection, architecture, landscaping, livestock, commercial entities, and residences, it was determined that it is would be best to have someone who was on the CW staff to manage the IPM. Ryan Jones was hired as the integrated pest management specialist. The IPM has been so successful the program has expanded to include monitoring and treatment of termites. He and an army of other staff members have certification for pesticide application, but housekeeping, routine trap monitoring, and building inspections and maintenance reduce the need for pesticides. A holding room, and freezing and anoxic treatments are used for objects with infestations. The staff can report pest sightings via intranet; identification sheets with common pests are made available with a pest specific follow-up sheet sent after identification. Patricia has taken a holistic approach.

Rachael Arenstein is currently the conservator at the Bible Lands Museum in Jerusalem, Israel. However, as a former conservator in private practice she spoke about some of the challenges she noticed with smaller museums that lack IPM plans. She felt that the biggest problem was most often that pest damage is not recognized and is thought to be the natural effects of age or light damage. Rachael pointed out that all museums have some kind of pest problem. Small museum are understaffed, under-resourced, collections are crowded, and if there is an infestation the staff is just “grossed out.” Mistakes are made using inappropriate products and procedures. Rachael is a member of the IPM Working Group, which grew out of colleagues banding together to learn how to deal with infestations. Over the past ten years Rachael and these colleagues have created an invaluable resource, Museumpest.net. It is everything one might want or need to know about IPM: prevention, monitoring, identification, treatment solutions, and implementation of an IPM plan, and more. Through the site you can join the Pestlist, an e-mail distribution list that allows members to ask questions, and receive answers and advice from museum and preservation professionals, entomologists, and other practitioners.

The speakers opened the floor to questions and discussion. The first question was concerned with how to get the staff to “buy into” the importance of protecting the collection. The reply to this was that presentations to staff showing damage, or potential damage were helpful. Unfortunately, it often takes a major infestation to drive home the importance of IPM. Other questions were asked about pheromone traps, how to handle a museum wide dermestid infestation, if there were any lasting effects from the use of Vikane fumigation, and “are crack and crevice” treatments of any use. The answers were helpful, but too lengthy to address here. All roads lead to http://museumpests.net (and housekeeping.)

The speakers have posted their presentations on the Museum Pest web-site:
http://museumpests.net/wp-content/uploads/2014/07/AIC-2014-Stressed-about-Pests-Morris-FINAL.pdf
http://museumpests.net/wp-content/uploads/2014/08/AIC-2014-Stressed-about-Pests-Silence-FINAL.pdf
http://museumpests.net/wp-content/uploads/2014/07/AIC-2014-Stressed-About-Pests-Arenstein-FINAL.pdf

42nd Annual Meeting – Paintings Session, May 30, “The Reconsideration of a Reattribution: Pierre-Edouard Baranowski attributed to Amedeo Modigliani” by Elise Effmann Clifford

Elise Effmann Clifford, Head of Paintings Conservation at the Fine Arts Museums of San Francisco (FAMSF), presented a case study dealing with the complex topic of evaluating a painting’s attribution, drawing on the research of psychologists to consider the biases at play when conservators and scholars approach such investigations. The artwork in question was a portrait of Pierre-Edouard Baranowski, which entered the collection of the FAMSF as a painting by Amedeo Modigliani from 1918. After a demotion in attribution in the 1990s, the painting was subsequently reattributed to the artist in recent years. Effmann traced the research trails of both investigations in her talk, evaluating the reasoning of each that led to their opposing conclusions.

Portrait of Pierre-Edouard Baranowski by Amedeo Modigliani, c1918, Fine Arts Museums of San Francisco. Photo: art.famsf.org — Portrait of Pierre-Edouard Baranowski by Amedeo Modigliani, c1918, Fine Arts Museums of San Francisco.
Photo: art.famsf.org

The first of these investigations began soon after the painting entered the FAMSF collection in the early 1980s, when scholars and dealers first raised doubts over the authenticity of the work. These were based on the existence of another portrait of Baranowski by Modigliani in the collection of Robert and Lisa Sainsbury from 1937-1999, and referred to as the ex-Sainsbury painting in this talk. This work has airtight provenance and little doubt over authorship. It is painted in a style typical of the artist. Two portraits of Baranowski were mentioned in the earliest catalog of Modigliani’s work, but this states both were on canvas, where the FAMSF painting is on hardboard. Only the ex-Sainsbury painting is mentioned in subsequent catalogs. The provenance of the FAMSF painting was unknown prior to 1953, the year the donor purchased the work. A report from the FAMSF conservation department notes an underlying composition of what appeared to by a figure similar to those in an early series by Modigliani. Early restoration treatments to address flaking paint were noted, as was an early campaign of overpaint in the face. Expert opinions were sought, and at least 7 records from dealers and scholars exist in the curatorial file stating they did not consider the painting to be by the artist, that something was not quite right. The FAMSF painting’s lack of technical similarities to the ex-Sainsbury painting, incomplete provenance, its absence in early catalogs of Modigliani, including the irrefutable Ambrogio Ceroni catalogue raisonne, and the frequency of Modigliani forgeries all contributed to a decision to deattribute the painting. This was made official after the painting was taken to England to compare to the ex-Sainsbury painting in 1994.
Prompted by questions raised by the family of the donor, a technical investigation of the painting began in 2011. Effmann found more information on the unusual underlying painting, finding other similar compositions by the artist, also on hardboard. She found other examples of similar paint application, and discussions with conservators and scholars revealed that the artist showed a great deal of variety in his technique. There were several fingerprints found in the paint, ignored in the earlier investigation. Effmann also traced the provenance almost back to the artist. Current experts were consulted in light of the new information, and the attribution to Modigliani was reinstated.
Effmann notes that in hindsight, the authenticity of the painting seemed obvious. She found herself reflecting on the trajectory of research and reasoning that led to the initial conclusion that the painting was a poor-quality copy, and the role that bias may have played. The idea that such research outcomes may be influenced by cognitive biases has never been examined in the context of conservation, so Effmann turned to psychology, where the topic has been a significant area of research since the 1970s. She discussed the implications of heuristics, or cognitive shortcuts, we make constantly in order to quickly and efficiently process the vast amount of information we encounter. These heuristics usually serve us well, but cognitive psychologists have studied numerous ways in which they can lead to predictable errors or biases. Effmann identified several biases at play, including Attribute Substitution, when a difficult question is unconsciously replaced by a simpler one. Here, the question of ‘is this painting genuine?’ was replaced with ‘does this painting look like the other painting?’ Confirmation Bias (the tendency to favour information that agrees with preconceived hypotheses), Overconfidence Bias (overestimating the accuracy of one’s conclusion), and even Hindsight Bias (feeling as though one ‘knew it all along’) were all at play in the course of these events. (A good introduction into this topic is Daniel Kahneman’s ‘Thinking Fast and Slow’, Farrar, Straus and Giroux, 2011).
When we sit down at our microscopes, don our UV goggles, take endless notes, measurements, and photographs for documentation, it is easy to think we are looking at these artworks objectively. But the reality is: we’re not. Whether we’re embarking on a large-scale research project, or writing a condition report, we are drawing on previous experience and opinion which is necessary to guide us and make sense of the world around us efficiently, but can also lead us astray. Effmann says she’ll continue to research the topic of bias in the future, and I look forward to seeing what she finds. I know that I’ll be considering the reasons behind my reasoning much more carefully from now on.

42nd Annual Meeting – Research and Technical Studies (RATS) Session, May 29, "Unwrapping Layers in Historic Artworks: Virtual Cross-Sections with Pump-Probe Microscopy" by Tana Villafana

For the last few years, Ms. Villafana and her co-authors have been refining a new microscopy technique for conservation to create “virtual” non-destructive cross-sections. This is a very exciting development for our field, particularly for those of us working with materials–such as works of art on paper–that don’t typically allow for sampling. And for paintings conservators more accustomed to taking traditional cross-sections, this technique has promise for in-situ analysis of paint layers through varnish.

To summarize, the virtual cross-section image is created using pump–probe microscopy, a non-linear optical microscopy technique developed for the biomedical field, which allows non-invasive detection of biological pigments indicative of skin cancer. Because skin tissue is highly scattering, this technique was developed to be inherently confocal, meaning that the signal is generated only at the focal point, creating less scattering, and less spectral noise. The approach is naturally suited to the highly scattering pigments, binders, and supports making up materials of cultural heritage. However, the complexity of art objects render the technique more difficult to apply.
villafana_pump-probe-cross-sections

Pump–probe microscopy achieves high resolution in three dimensions with a maximum image area of up to 1mm square. The penetrating depth ultimately depends on the material composition of the object under study. The technique is typically operated at two wavelengths: 810nm and 720nm and modulated to create a series of images at different inter-pulse delays. These images can then be colored according to the molecular composition of the specific material and stacked to create a 3D rendering.
With this presentation, Ms. Villafana shared case studies illustrating ongoing research into cultural heritage materials using pump–probe microscopy. The first project investigates applications of pump–probe on paper substrates bearing coatings of lapis lazuli pigment. With this technique, it is possible to produce an image illustrating the physical structure and condition of paper fibers underlying the paint layer. She observes that the pigment particles cluster around the fibers, as seen in the slide below. She is interested in further investigating the natural heterogeneity of lapis lazuli crystals, noting that samples from different parts of the world exhibit different delay behaviors. She plans to complement her pump–probe analysis of lapis lazuli pigments with SEM-EDS, Raman, and FTIR.
villafana_paper-lapis villafana_lapis-pump-probe
Villafana also presented on preliminary research using pump–probe to investigate historical methods of pottery manufacture. After finding that pump–probe delays of hematite are dependent on firing temperature, Ms. Villafana started using mock-up clay bodies fired under different conditions (Oxidized at 1800F and 2300F/Reduced at 1800F and 2300F) to examine the difference in delay behaviors from the exterior to the interior of fired clay. She has found that higher temperatures and oxidation both result in shorter lifetimes. Further study will focus on phase change and particle size.
villafana-pump-probe-pottery
I quite curious to see how this technique develops in the near future. Will pump-probe (or something like it) be able to replace traditional cross section techniques within the next 5 to 10 years? What other techniques are being developed out there that might be able to achieve similar results?
See the following two links for more information:
Villafana, et al., full-text PDF of recent research published in The Proceedings of the National Academy of Sciences of the United States of America
Article about Pump-Probe Microscopy in Science News, from Science, AAAS

42nd Annual Meeting – Joint Session: Objects + Research & Technical Studies, May 30, “Coping with Arsenic-Based Pesticides on Textile Collections” by Jae Anderson and Martina Dawley

Presenters:
Jae Anderson – MS candidate, Materials Science and Engineering, University of Arizona, member of Navajo tribe.
Martina Dawley – PhD candidate, American Indian Studies, and Assistant Curator for American Indian Relations, Arizona State Museum, member Hualapai and Navajo tribes.
Nancy Odegaard – Conservator Professor, Arizona State Museum.

Nancy Odegaard began by introducing this project to develop guidelines for the removal of arsenic from textiles utilizing a portable X-ray fluorescence analyzer (pXRF). She explained that a number of different forms of arsenic have historically been used on the collection at the Arizona State Museum (ASM). For this project, the team chose to focus on Navajo textiles due to the consistency in their materials and construction. In addition, they were able to consult with local Navajo (or Diné) weavers. Martina Dawley and Jae Anderson, who both worked in the ASM conservation lab on the project, presented the remainder of the talk.
Martina described her role in carrying out a survey of the Navajo textile collection, which includes blankets, rugs, and looms. She researched provenance information, produced documentation, and performed XRF analysis on each piece. One of the questions raised during the project was whether the rolled textiles could be analyzed with the pXRF while on the roll or if they had to be unrolled flat first. Interestingly, Martina noticed that the first reading on an object was diagnostic of the remaining readings on that object overall. If the first reading for arsenic was below 100ppm, most of the other readings were also below this level, and the corresponding trend was true if the first reading was greater than 100ppm. Therefore, for textiles with a lower initial reading, analysis was continued on the roll, meanwhile textiles were unrolled for more thorough testing if a higher-level initial reading was found. In the end, 17% of the textiles she tested were found to have levels at or above 100ppm, and the majority of these pieces (69%) were from the 1800’s. Forty-seven percent had less than 100ppm of arsenic, and 36% were found to have no arsenic.
Jae explained the experimental portion of the project in which the pXRF was calibrated and textile-washing methods were tested. First he described two inorganic arsenic species – arsenite, As(III), and arsenate, As(V). Arsenite is more toxic and is commonly in the forms arsenic trioxide and sodium arsenite. It can convert to arsenate by oxidation in wet conditions. For calibration and experimental testing, Jae wetted cotton and wool fabric samples with arsenite solutions of varying concentrations. Another variable tested was application method; he applied the arsenic solutions by droplet, dipping, and spraying, of which the latter two are traditional arsenic-pesticide application methods. During this step, he noticed the wool curled because of its hydroscopic nature, so he altered the experiment to utilize Chimayo hand-woven wool. He also added a surfactant to help with wetting properties and food coloring as a visual cue to see that solutions were applied evenly. Each fabric sample was analyzed five times, both wet and dry, with the pXRF in order to create a calibration curve.
Next, the fabric samples were washed in deionized water, and various conditional effects were tested, including temperature, pH, time, and agitation. The samples were again analyzed with pXRF and the results compared. Increasing the temperature and altering the pH of the wash water were found to have no effect on arsenic removal. The greatest arsenic removal overall occurred within the first 10 minutes of washing, and agitation caused a substantial increase in the effectiveness within the first five minutes. Therefore, the preliminary guidelines were washing for 10 minutes, at a neutral pH, with agitation, at room temperature.
After washing the fabric test samples, the team attempted to analyze the post-wash water with a paper indicator, however this test was not sensitive enough, nor did it indicate concentration. Inductively coupled plasma optical emission spectroscopy (ICP-OES) has the potential to quantify the levels of arsenic transferred to the wash water, and Jae noted that they are beginning to utilize this technique. Nevertheless, the post-wash water was found to contain less than 5 ppm arsenic, so it could be disposed of down the drain, according to municipal and federal regulations.
During the next phase of the experiment, three Navajo textiles were washed according to the preliminary guidelines. (Note that prior to washing, the textiles were documented, analyzed using pXRF, and their dyes tested for colorfastness.) After washing the first textile and finding the results did not correlate with their experimental data, the procedure was altered – the volume of wash water was calculated based on the experimental tests. The second textile washed was initially found to have high levels of arsenic (greater than 100ppm). Good results were achieved, with 96% of the arsenic removed and only minor dye bleeding. The third textile initially had low levels of arsenic (less than 100ppm) and less arsenic was removed during washing. Therefore, better results were achieved (i.e. greater arsenic removal was possible) when arsenic was initially present in higher quantities.
Overall the project surveyed 600 Navajo textiles and identified time-period and collector-dependent trends in arsenic concentrations. The team developed a cleaning protocol in which 95% of arsenic could be removed in high-arsenic contaminated textiles but with less effective results in lower arsenic containing textiles. The mass of the textile, the volume of wash water, as well as agitation and wash time (up to a point), were found to have an effect on results.
Several questions were posed in response to the presentation. One audience member wanted to know about the health and safety outcome of washing – could the textiles now be handled safely without gloves? Jae explained that the results would have to be evaluated by a medical toxicologist. Another attendee was interested to know if this technique could be used on a collection of fragile Egyptian textile fragments with a known history of pesticide treatment. Nancy replied that arsenic can be removed with washing, but the stability of the textile and its ability to withstand washing is a separate issue. Finally, someone asked if the arsenic species, arsenite vs. arsenate, could be identified on the textiles? Jae explained that the two forms are too similar to be distinguished here.
I look forward to hearing more results from this team as they continue exploring new experimental procedures and further developing arsenic removal techniques. Learn more about the ASM’s Preservation Division here.

42nd Annual Meeting – Joint Architecture and Objects Session, May 29, "The Cultural Production of Tourism at Lake Tahoe: Exploring How Cultural Heritage Preservation Is Impacted By Tourism," by Catherine Magee

This paper was a departure for a specialty group presentation in that it focused not on the conservation or technical study of material culture, but on the creation and consumption of cultural narratives and landscapes. Magee noted that conservation work informs and perpetuates stories about people, places, and things, and made the point that conservators are generally comfortable thinking about our work in the context of education, science, and academic scholarship. But she proposed the idea that we must also consider our role in the broader context of tourism, since the primary products of our work – conserved objects and sites – are most often intended for consumption by the general public, also known as tourists.
Her paper included a brief overview of tourism studies, examining the impact of tourism on different kinds of sustainability: economic, ecological, and cultural. The bulk of the paper was spent illustrating the latter point, looking at the ways tourism influences our perception of history and heritage by creating hybrid tourist/cultural heritage landscapes and influencing cultural memory.
Magee used two examples from her doctoral research, which focuses on the landscapes and material culture of the Washoe people in the Lake Tahoe area. The first example was Cave Rock, a pilgrimage site of major spiritual significance for the Washoe. The site was progressively destroyed by tourism, evolving from a culturally significant tourism site, to a pathway for a road, to a mecca for rock climbers. The second example focused on an iconic Washoe basket form, the degikup, and its most famous creator, Dat-So-La-lee. Magee examined the shared mythos of Dat-So-La-Lee and the degikup in detail, revealing the stories, and the basket form itself, to be products created for tourism.
The role of the conservator in shaping the destiny of a site like Cave Rock or the narrative surrounding iconic artifacts and artists like the degikup and Dat-So-La-Lee was not explicitly discussed. It’s not difficult, however, to imagine the complexity inherent in conservation decision-making for the kinds of tourist-hybridized sites, objects, and narratives explored in this paper. Magee argued that we conservators will discharge our responsibilities best if we develop a better awareness of our role in the cultural production of tourism. With that awareness, we can improve our agency in the process and generate better outcomes for sites, objects, and the communities we serve.

42nd Annual Meeting – Paintings Specialty Group Tips Session, May 29

The PSG tips session at the 42nd annual meeting took place prior to the afternoon session on Thursday, May 29th. The following recaps the twelve tips that were presented. I’ve done my best to give you the most complete information possible, but please feel free to contact each tipper for more information or for clarifications. You can also always enter your questions into the comment section below!

Tip 1: “Texas Strappo” varnish removal, presented by Helen Houp
Helen began with a case study of a damaged painting with a thick varnish that needed to be removed. The thickness of the varnish combined with the severity of the damage to the painting precluded the use of traditional methods of varnish removal. A search for treatment alternatives led to the use of pressure sensitive tape for varnish removal. The tape was applied to the top layer of varnish and then pulled away gently to remove a thin layer of material without risking the paint underneath. It was also possible to use the tape to remove overpaint. The method allowed for a controlled removal of the varnish and overpaint in layers without leaving behind significant residues. I was unable to determine the type of tape that was used, but I’m sure Helen would be willing to provide details to those who may be interested.
Tip 2: Reverse of Paintings Database, presented by Elise Effmann Clifford
Elise previewed a database for “Information on the Reverse of Paintings” that she has been developing in cooperation with the Fine Arts Museums of San Francisco, which will host the final site. The goal for the completed database is to provide a searchable and expandable archive of shared information specific to the reverse of paintings with international access and contributions. In the interest of security and permissions, a login will be required and it will be possible to make entries available to the general public or adjust privacy settings to limit viewing. Members will be able to upload images with file size allowances up to 30MB. Transcriptions and key terms will allow searches for details like canvas stamps, stencils, labels, and seals. The project is destined for beta testing beginning some time in July 0f 2014. People interested in taking part in the testing or submitting future contributions should email Elise.
The presentation of the database was followed by a brief question and answer period.
Q: Will any of the information contained in the database be found through a general internet search?
A: That will depend on the privacy settings. There will also be terms and condition sections on the site as well.
Q: Will uploaded images become property of the Fine Arts Museums of San Francisco once they are uploaded?
A: No.
Q: Will the database accept video? What kind of images are accepted?
A: It will not take video. Right now it cannot take RAW images but will handle things like jpg, tif, etc.
Tip 3: Filling cracks at the edges of canvas, presented by Kristin Robinson
Fine cracks along the turnover edges of a canvas can be very difficult and tedious to fill. Kristen suggested using dried modostuc, which can be held in the fingers and gently rubbed over the cracks to fill them quickly and safely. The dried material leaves very little residue and what remains can be gently wiped way.
Tip 4: Edge lining iron support, presented by Kristin Robinson
Kristin followed her first tip with a suggestion for edge-lining. A backing board or mat board can be folded into thirds to form a triangle, which can act as a rigid support for the iron to press against when applying an edge lining on folded margins.
Tip 5: IMAT developments, presented by Nina Olsson
This tip focused on recent advancements of the IMAT project, which is the natural progression of an earlier project Nina introduced to the Paintings Specialty Group in a talk presented at AIC’s 38th annual meeting in Milwaukee. IMAT refers to “Intelligent Mobile Accurate Thermoelectrical” mild heating devices. The aim of the project is to provide conservators with a controlled and mobile tool for the structural treatment of materials. It is worth noting that Nina is a paintings conservator but the IMAT was developed with a broad audience in mind, including but not limited to conservators of works on paper and textiles. The details of the IMAT project are significant and advanced so this is merely a summary of what was presented at this tips session. Links to more detailed information about the IMAT are included at the end of this summary.
The current IMAT team has developed working prototypes that should be ready for production within a few years. The current focus is on low temperature applications that can be sustained for many hours at a time with a low voltage requirements (I wrote 70-150 degrees Fahrenheit and 36 volts, though these should be confirmed through additional resources). The carbon nanotube heat source is galvanically insulated and has a thermosensor connected through bluetooth technology with a touch screen control for heating over time within a 0.5 degree Celcius fluctuation. The mats will be flexible and come in various sizes, though any customizable size will be possible.
There are 3 IMAT forms at present. The first is a standard mat that is opaque and does not offer any breathability. The second is a black mesh mat with a gray polyurethane coating and thin silicone coating. The third, which is still in development, is a transparent mat with silver nanotube technology. A fourth incarnation–a textile-type mat of silk organza with silver nanowire–is next in line.
All questions regarding the history and current developments of the IMAT project can be directed to Nina Olsson. Additional information can also be found via the following links:
PSG 2010 Postprints
imatproject.edu
H. Meyer, K. Saborowski, T. Markevicius, N. Olsson, R. Furferi, M. Carfagni. “Carbon Nanotubes in Art Conservation.” International Journal of Conservation Science. 4 (2013): 633-646.
Tip 6: PSG Wiki, presented by Gabriel Dunn and Erin Stephenson

In May of 2013 a core team of paintings conservators formed the Paintings Specialty Group Wiki Committee under the guidance of Chief Wiki Editor Erica James. The group worked to bring organization to the PSG wiki page. Gabriel and Erin presented the improvements that were made to the page and announced that the group is seeking contributions. They encouraged the PSG membership to visit the site and consider submitting material or reaching out to be paired with a liaison who can submit material on their behalf. Any questions or concerns about the PSG wiki can be directed to Erica James or any member of the current Wiki Committee listed on the main PSG wiki page.
Tip 7: Fume extraction, presented by Robert Proctor
Rob presented a design for a fome-cor “cabinet” that he built to enclose a painting during varnishing. The structure can fit around a painting to contain fumes, and hoses attached to the structure will remove the fumes before they escape into the studio space.
Another fume extraction tip involved the wheels on portable fume extractors. Rob mentioned that the ones sold with the portable extractors are expensive and mark floors. He suggested making a mobile base using wheels purchased at a home improvement store that will not mark the floors. As a side note, he added that it is not necessary to purchase the proprietary prefilters for the portable units because those used for home air conditioning units work just as well.
I’m certain Rob would be happy to provide details for anyone who wants more information on his designs!
Tip 8: Building your own microscope, presented by Ria German-Carter
Microscopes are expensive and can be an especially significant cost for conservators in private practice. When faced with the task of acquiring a new microscope, Ria decided to put together her own. She was able to find some good quality used components on eBay and save on additional parts by purchasing through amscope.com. She built an inspection microscope with the following specifications for under $1000:

8 inch working distance
articulated arm
different camera mounting tubes
LED lighting
fiberoptics

Unfortunately, I missed the specification regarding the microscope’s magnification. Please contact Ria if you would like more details!
Tip 9: Laser line for cutting batting and what to do with the scraps, presented by Chris Stavroudis
Chris gave a simple but effective tip to assist in cutting a straight line in batting material. He placed the line across the batting and was able to cut a smooth line without needing the assitance of a physical straight edge. He suggested using scraps of batting for cleaning dishes, lab tools, or as a less abrasive material for surface cleaning.
Tip 10: More fume extraction, presented by….
I apologize to this tipster for missing their identity! Please comment below if this is your tip. It described the use of a dryer tube/trunk for fume extraction rather than buying a specialized trunk. White mesh can be put ver the tube to make it less like a dryer tube and a PVC cap can be added to the end for finish and for weight. An angled piece, such as those used for water heater tubes, can be used to create a swivel at the end of the tube.
Tip 11: Proper ventilation, presented by Daisy Craddock
This wasn’t a traditional tip, but is still important information. Daisy pointed out that exhaust systems, such as elephant trunks, need to exhaust to the outside of a studio because they don’t remove all vapors and may produce precipitants. She also reminded us that microemulsions do not get extracted at all.
Tip 12: Storage rack solutions, presented by Kate Smith for Gordon Lewis
Gordon was not in attendance at the tips session so Kate presented his images of a storage system that involved the use of foam board. It appeared that the foam was used as an inexpensive alternative material to create slots in his storage racks. Gordon may be able to provide more details about his tip if interested people wish to contact him.

Thanks for the tips, everyone!

42 Annual Meeting-Joint Session: Paintings and Wooden Artifacts, May 31st, "Modern Materials and Practice in Gilding Conservation", Hubert Baija

Hubert Baija, Senior Conservator of Frames and Gilding, has been responsible for overseeing the conservation of the frame collection at the Rijksmuseum Amsterdam since 1990. Numbering over 7000 frames that are now accessioned and inventoried as works of art in their own right, Baija has had the opportunity to treat frames of different styles and condition issues. During his presentation, he discussed three treatments. He emphasized the need for close study and observation of the original materials, understanding the appearance and intended effect created by the frames in their original lighting situations, and choosing reversible materials in a creative way. He noted that a treatment need not be overly involved to successfully reintegrate the gilding.
His first case study was the treatment of a Louis XVI oval frame (1777-89) that was original to the portrait it framed. The discussion addressed the past practice of covering worn gilding with bronze paint, that later had been retoned with a dark glue/pigment layer to match the discolored bronze. These layers significantly altered the intended appearance of the frame, by negating the play of dark, light, and reflectance across the complex surface. Baija demonstrated that by removing the glue and bronze paint layers (using simple solvent mixtures), only a minimal amount of inpainting was necessary to reintegrate the gilded surface. While the improvement to the frame was impressive, the appearance of the painting when displayed in the frame was also significantly improved by the intervention.
Baija’s second example demonstrated his skill as an artisan, his keen observation, and his determined investigation of a little know technique that had previously been overlooked. He stylistically identified a pair of auricular frames carved from lindenwood to c.1660-1665. Both frames had significant worm damage, had lost smaller portions of carved decoration, and were overpainted and overgilded. Only small areas of the original gilding remained intact–between 5 and 30%.
The original gilding was done using a type of mordant gilding that is not known from historical texts and has not been identified before. Using SEM-EDX imaging of cross sections, the technique was characterized: the bare wood was prepared for gilding using a thick glue layer (1 mm Th), followed by a pigmented emulsion layer, to which the gilding was applied.
Noting that the tradition of gilding in the Netherlands had been lost since the 1580s, and that more traditional (and stable) gilding techniques would not be reintroduced to the Netherlands until later in the 17^th century by French Huguenots, Baija surmised that this unusual technique was in use—only in the Netherlands–for a relatively short period of time. After his initial characterization of the technique on these frames, he has since identified other examples on Dutch frames and furniture that are stylistically dated to 1650-1680. Because the technique was inherently unstable given the response of the thick glue layer to changes in humidity, many pieces gilded using this technique have subsequently been overgilded.
After cleaning the frames of non-original layers, the carved losses to the wood were reconstructed using paper mâché /methyl cellulose mixture, mixed with water. The material can be handled like clay to buildup the appropriate forms. The paper mâché shrinks slightly, allowing for application of Modostuc finishing layer. Because an isolating layer of Paraloid B-72 had been applied to the original wood surface, the paper mâché fill remains easily reversible. Shallower losses were also filled with Modostuc.
Most creative was Baija’s approach to inpainting to create the illusion of distressed gilding. Noting that the original thick glue layer would only be very slowly soluble in water, gouache was chosen to provide a brown base tone over areas of lost gilding and structural reconstruction. Islands of worn gilding were recreated using mica pigments mixed with Schminke watercolors, masterfully creating the illusion of a worn gilded surface. Final toning was done using ethanol soluble dyes in Mowilith 20. Toning could also be done using Gamblin Conservation Colors, PVA, etc. Coincidently, the dating of the frames was confirmed and the paintings and frames temporarily reunited, when an early 20^thC. photograph of the frames paired with their original paintings was identified. The paintings are signed and dated 1661.
In his final example, Baija described an approach to reintegrating an area of loss in the gilding on a panel painting by Lorenzo Monaco, Stigmata of St Francis, c.1420. The area of damage was on a stepped join that was filled using Modostuc and prepared for gilding with acrylic bole from the Kolner system. Baija emphasized the importance of selecting a gold that was the correct color, but lighter in tone than the final appearance needed. He noted that any toning layers/coatings would take away from the intended appearance of the gilding—imitation of solid gold. By simply inscribing the cracks in the newly gilded loss, using horizontal lines to disrupt the vertical disruption of the loss, the gilding was effectively knocked back to the correct tone. Minor glazes to create the effect of dirt in the cracks were then applied.
Each of these treatments demonstrated issues that are common to conservation of gilded objects. Gilded surfaces are often overgilded or painted with bronze paint to recreate the impression of gold. Alternatively, gilded surfaces tend to be toned dark, either to reintegrate corroded bronze paint or to tone back gold that may seem too garish or is disrupted in other ways.
Baija’s approach is one that brings back the appreciation of frames as works of art, rather than as just accessories to paintings. It emphasizes the need to understand the original and aged appearance of the gilding, and to recover what is left of the original. His approach is one that acknowledges the frames—like objects and paintings–should be treated in reversible ways, using conservation materials distinguishable from the original materials. It thereby breaks from the traditional approach of regilding frames using traditional materials and techniques. He encourages the exploration of new materials, the use of reversible layering systems, and acknowledging the patina of time and use. An overall theme of the talk was one of reintegrating the gilding only to the level of the best-preserved area of original gilding.
For those interested in furthering their understanding of gilding and approaches to gilding restoration, Baija teaches two workshops at the Campbell Center in Mt Carroll, Illinois. “Traditional Gilding” and “Gilding Restoration” combine lecture and practical work in the studio. I attended both workshops over the last two summers, and as a result have improved my treatment approach for gilded frames. I highly recommend them.

42nd Annual Meeting – Paintings Session, May 29 “Illumination For Inpainting: Selecting an Appropriate Color Temperature” by Steven Weintraub

So why do conservators prefer northern daylight for inpainting? In Steven Weintraub’s talk titled “Illumination For Inpainting: Selecting an Appropriate Color Temperature” which he presented in the Paintings Session at the 42nd Annual Meeting in San Francisco, he answered this question, as well as a few others about light sources and selecting an appropriate color temperature.
Steven explained how, in his opinion, it is the distribution pattern of skylight that helps make it so ideal. When diffuse skylight from a north-facing window enters a room, there is a “soft” directionality. This type of light distribution avoids the problem of harsh shadows typically associated with point sources of light. It also avoids the opposite problem of flatness due to the absence of shadows, a condition associated with diffuse sources such as over-head fluorescent lamps.
Using only skylight or daylight for inpainting, however, sets the conservator up for two problems: The first, as Steven mentioned in his abstract, is that the availability and control of northern daylight limits the amount of time, and the location in which it can be used. This becomes a real problem if you happen to be facing a tight deadline during the short winter days in the northeast, or like myself, have constantly changing lighting conditions, such as those during the bout of thunderstorms that we often have here during Houston summers. The second problem, which Steven explained in more detail during his talk, is that the spectral power distribution of typical sources of gallery lighting is pretty much the opposite to that of daylight. The result is that if inpainting is done only with daylight, it increases the risk of metamerism when exhibiting the artwork in an electric lighting situation utilizing a warm color temperature source.
It is for both these reasons that many conservators opt for a mix of electric light and daylight for inpainting, and when possible, test the matching of inpainting in the lighting conditions for which it will be displayed.
But, how does one choose an appropriate electric light source? Steven explained his research and suggested that selecting an appropriate color temperature with adequate color rendering properties was a key.
Apparently, color temperature in the range of 3800° Kelvin is the magic number. From Steven’s talk, I learned that color temperature within the 3800°K range is the transition point between warm to cool on the color temperature scale. Within this color temperature range, Steven theorizes that one gets the best balance of saturation with warm and cool colors.
Steven concluded his talk by illuminating a pair of reproductions of a very well known painting by René Magritte, demonstrating the difference in appearance of the image in various color temperature lighting conditions. This showed how the moderate (3800°K) range really did look the best.