{"id":4544,"date":"2021-05-02T04:46:10","date_gmt":"2021-05-02T04:46:10","guid":{"rendered":"https:\/\/resources.culturalheritage.org\/osg-postprints\/?page_id=4544"},"modified":"2021-05-02T04:46:10","modified_gmt":"2021-05-02T04:46:10","slug":"palumbospnhc","status":"publish","type":"page","link":"https:\/\/resources.culturalheritage.org\/osg-postprints\/v28\/palumbospnhc\/","title":{"rendered":"Lascaux and its application in the restoration of taxidermy and entomology collections"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><em>Bethany Palumbo<\/em><\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Abstract<\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Materials historically used in the restoration of natural history collections have not always demonstrated good reversibility or long-term chemical stability. However, with the increasing influence of the wider field of art and artifact conservation, there is currently a movement among professionals who work with natural history collections to embrace materials that are consistent with its standards.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One such product is \u2018Lascaux 498-20X\u2019, an acrylic adhesive that is commonly used in textile and painting conservation. The aim of this paper is to supplement our knowledge of these existing usages with a selection of recent case studies describing the use of Lascaux on taxidermy and entomology collections. These examples demonstrate the use of Lascaux 498-20X as an adhesive, a consolidant, and a loss compensation material. Applied with Japanese tissue, either in multiple layers or mixed into a paste, it provides a strong yet flexible base for a variety of applications. It can be used in repairing torn or broken skin, and rebuilding areas of loss as a fill material. If mixed with pigments, Lascaux provides a realistic fleshy appearance in the restoration of fish fins and tissue. Diverse in its applications and easily removed with acetone or toluene if required, Lascaux shows much promise as a standard adhesive in the conservation of natural history collections.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\"><a href=\"https:\/\/resources.culturalheritage.org\/osg-postprints\/v28\/\" data-type=\"page\" data-id=\"4511\">2021 | Virtual | Volume 28<\/a><\/h6>\n","protected":false},"excerpt":{"rendered":"<p>Bethany Palumbo Abstract Materials historically used in the restoration of natural history collections have not always demonstrated good reversibility or long-term chemical stability. However, with the increasing influence of the wider field of art and artifact conservation, there is currently a movement among professionals who work with natural history collections to embrace materials that are [&hellip;]<\/p>\n","protected":false},"author":16,"featured_media":0,"parent":4511,"menu_order":14,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4544","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/resources.culturalheritage.org\/osg-postprints\/wp-json\/wp\/v2\/pages\/4544","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/resources.culturalheritage.org\/osg-postprints\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/resources.culturalheritage.org\/osg-postprints\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/osg-postprints\/wp-json\/wp\/v2\/users\/16"}],"replies":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/osg-postprints\/wp-json\/wp\/v2\/comments?post=4544"}],"version-history":[{"count":0,"href":"https:\/\/resources.culturalheritage.org\/osg-postprints\/wp-json\/wp\/v2\/pages\/4544\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/osg-postprints\/wp-json\/wp\/v2\/pages\/4511"}],"wp:attachment":[{"href":"https:\/\/resources.culturalheritage.org\/osg-postprints\/wp-json\/wp\/v2\/media?parent=4544"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}