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Calcium hydroxide nanoparticles dispersed in ethanol or 2-propanol have been proposed for deacidification treatments of cellulose-based supports and are currently adopted by many paper and paintings conservators. There is however a risk inherent in this treatment: the dispersion would acquire a highly alkaline pH in the presence of moisture, absorbed by the dispersing alcohol solvents or by the cellulose-based support. Consequently, conditions of potential risk would be created for the structural integrity of the cellulosic supports, for some organic film-forming materials and some colouring matter. The simple tests conducted in this study clearly demonstrate that this risk is real, and suggest a cautious attitude in evaluating the suitability of these nano-dispersions for the treatment of some works of art. [ABSTRACT FROM AUTHOR]

This paper presents the results of a series of tests – using a recently-published set of methodological guidelines referred to here as the Protocol – on varnishes traditionally used in the protection and enhancement of graphic artworks. The aim of the research was to study the characteristics of different varnishes when they are applied to a graphic artwork and to analyze their behavior when exposed to conditions that cause alterations, be these natural factors, accidental, or the result of a conservation intervention. Lastly, the study sought to determine whether each varnish was suitable for conservation purposes. Five varnishes were selected for the study: egg white, gum arabic, shellac, rosin, and dammar. Paper test samples were used to study the characteristics of the recently applied varnishes: dimensions, weight, thickness, color, brightness/gloss, pH, surface appearance, drying time, degree of absorption by the substrate, and adhesion to the substrate. The behavior of varnishes was studied via a series of tests that recreated adverse conditions (humidity, light, and temperature). These tested for resistance to ambient humidity, immersion in water, dry-heat aging, and aging in a climate test chamber. After applying the Protocol it was concluded that the varnishes most resistant to different alteration factors are gum arabic and dammar resin. By contrast, shellac and rosin are the most susceptible to alterations, which precludes their use as a conservation material. As well as indicating the varnishes that present the minimum interaction with the substrate and the greatest long-term durability, the results of this research also provide a useful guide to the behavior of these varnishes for their use in preventive conservation. [ABSTRACT FROM AUTHOR]

Within the Master's course "Civil Engineering" at TU Darmstadt, a project has to be carried out. In the winter term 2018/2019 this was the design and fabrication of a bridge spanning 6 m and made entirely from paper. Students had to find bridge types suitable for the use of paper, develop and optimise cross sections and bracing systems and furthermore prove the load bearing capacity. This included the use of experimental methods explicitly. Finally, the bridge had to be erected crossing a small creek. No materials other than paper, cardboard and glue were allowed. [ABSTRACT FROM AUTHOR]

A small box, hitherto described as white lacquerware, currently displayed at the Chinese Pavilion, Drottningholm, Sweden, is an unusual example of artefacts imported from the Far East during the era of the East India Companies. By using microscopy for cross- and thin sections, X−ray fluorescence microscopy, attenuated total reflection Fourier transform infrared spectroscopy, and pyrolysis-gas chromatography-mass spectrometry, some of the specific characteristics of the box are described, and it was possible to differentiate original from more recent restoration material. Among other findings, the results suggest that white glue tempera is a better description, based on indications of calcium carbonate and protein, and support an earlier attribution of the box to an Edo period doll maker in Kyoto. [ABSTRACT FROM AUTHOR]

To study the life expectancy and difference in aging resistance properties of different modern repair bamboo papers, hydrothermal/dry-heat ageing experiments on repair bamboo paper samples were conducted. The mechanical strength (tensile strength and folding endurance) of different papers during the ageing process were analyzed. Furthermore, the chemical properties (degree of polymerization and pH) of the samples were tested to search for the immanent cause of paper ageing. The results indicated that the ageing resistance ability and durability of modern repair paper are strongly related to their production process, which corresponds with the initial properties of the paper. Mechanical pulp had a low degradation resistance, which was further exacerbated by the chemical bleaching process. In the long run, traditional handmade papers with solar bleaching processes will have longer-term stability and durability. [ABSTRACT FROM AUTHOR]

A large variety of acid-free Asian and Western papers offer objects conservators numerous applications in their work. Not only have objects conservators borrowed this extraordinary material - paper - from the field of paper conservation but they have also adopted many of the well-developed methods and techniques of handling and manipulating it in their 3-D treatments. Paper meets all material criteria in modern conservation practice, including reversibility, strength, inertness, long-term stability, minimal change in color over time, and compatibility with the original artwork. Additional attractive characteristics are that it is light weight, non-toxic, hydrophilic, it conforms well to surfaces, and is not affected by the solvents typically used. Also, the cost of paper varies but is not excessively high. Finally, having the option of using paper in sheet, fiber or powder form - either in a dry or wet state - allows for even wider applications. This article is a survey of the wide range of applications of paper in objects conservation. Its use can have two very different functions. It can serve as a restoration material, thereby remaining with the artwork after the treatment is complete, and as a tool during treatment, thereby not remaining with the artwork after the treatment is complete. [ABSTRACT FROM AUTHOR]

Recent research on Émile Zola's involvement with the French press of the late Second Empire and early Third Republic has clarified the shape of this history of his engagement with journalism, including a supposed absence from the fray between 1881 and 1895. This article, however, identifies in the period 1888 to 1892, between the idealism of Le Rêve and the reflexivity of Le Docteur Pascal, a period of particular reflection on the press by Zola which illuminates 'le retour du réel et de l'actualité' in his novels: La Bête humaine, L'Argent and La Débâcle. [ABSTRACT FROM AUTHOR]

Despite substantial literature on the dyeing of textiles, there is a lack of research about colouring Japanese mending papers (tissue papers) used for paper conservation purposes. This study investigates the fungal bioreceptivity of Japanese tissue papers after they have been treated with various dyes and pigments. A variety of toning materials including plant dyes, watercolours, acrylic paints, inks, pastels, gouaches, and colour pencils are commonly used by conservators for paper toning purposes. In this study, two Japanese tissue papers (Yukyu-shiandSekishu Mare) were treated with selected plant dyes, watercolours, and acrylic paints and then inoculated with fungal species. Quantitative real-time polymerase chain reaction (qPCR) was used to quantify the DNA fromAspergillus nigerandPenicillium rubrumas a proxy for fungal species abundance before and after inoculation and artificial moist heat ageing. qPCR primers which were universal for fungi amplified DNA from papers inoculated withA. nigerandP. rubrumand these species were found to grow less on treatedSekishu MareandYukyu-shipapers compared with untreated papers.Sekishu Marepapers treated with artists' acrylic paints were found to be more resistant to fungal growth than similarly treatedYukyu-shipapers. This study suggests that for the best long-term preservation outcomes for paper materials in archives, libraries, galleries, and museums, acrylic paints generally perform better in conservation terms than most plant dyes and watercolours, although most colourants displayed some bioinhibition. [ABSTRACT FROM PUBLISHER]

When dealing with contemporary art, conservators have to address not only the material aspects of the artwork but also other highly complex issues. The Argentinian artist Leon Ferrari is a representative example. He created avant-garde art installations but also worked with traditional techniques. His works raise dilemmas over concepts such as authorship, authenticity, legitimacy of art. Some of his artworks only interested him as a means to express his opinions and he was not concerned about alterations in their appearance. Therefore, what should be kept in them is not in an area of certainty for conservators. An essential key for achieving a responsible and respectful conservation result, is to understand the ideology involved in each ‘art piece’ created by Ferrari. [ABSTRACT FROM AUTHOR]

A 2014 exhibition of Meriç Algün Ringborg at Moderna Museet, Stockholm, Sweden, exploring identity and belonging involved the making of facsimiles. The installation included a sound work, booklets to be taken, and a book to be read. Exhibition copies were created of personal letters for open display which were not to be touched. Contrary to the artist's wishes, the work was constantly handled. Made for this one installation, the facsimiles transcended the exhibition and were returned with the work to the artist. The paper examines issues of authenticity and control from a conservation standpoint, and details discussions surrounding reproduction in contemporary art museum conservation practice. [ABSTRACT FROM AUTHOR]

The implementation of chemical filtration in air-conditioning systems in archive and library repositories has become standard practice for heritage institutions in many countries. This practice is codified in official standards with general reference to a substantial body of scientific publications on the effects of air pollutants on paper materials. In this paper we report the application of a well-established decision analysis approach elaborating an integral cost-benefit perspective to provide decision support to four European national heritage institutions confronted with dilemmas in connection to chemical air filtration. Available scientific evidence for air pollution induced damage of paper material is reviewed and weighed against financial and environmental costs of air pollution control. Exposure of paper to both indoor and outdoor generated air pollutants at typical concentration levels observed within storage areas is expected to cause minimal to no additional yellowing and embrittlement, while the costs of chemical air filtration are significant. From a cost-benefit perspective the use of chemical air filtration in typical library and archive repositories is therefore discouraged. [ABSTRACT FROM PUBLISHER]

This study focuses on the changes in properties of cellulose-based paper, which can take place as a consequence of its contamination by dust particles. The PM1 (fine) and PM10 (coarse) fractions of the dust particles from archival repositories were collected on cellulose filters Whatman 41, polytetrafluorethylene, and quartz filters. The latter two types of samples were subsequently analyzed gravimetrically, with ion chromatography, PIXE, and the thermal–optical transmission method, giving mass, ionic, elemental carbon, and organic carbon concentrations. After artificial aging, the viscosity-average degree of polymerization of cellulose (DPv) was measured. It was confirmed that cellulose-based paper can undergo substantial changes when contaminated by dust particles and artificially aged. The decrease of the DPvof cellulose showed a negative correlation with the deposited mass of sulfate ions in the dust particles. Considering the particle size fraction, the results suggest the decisive importance of the fine (PM1) particles. The results provide better understanding of how particulate matter contributes to the chemical degradation of cellulose-based paper. Such knowledge is of importance when considering appropriate conservation measures in archives, libraries, and galleries. [ABSTRACT FROM AUTHOR]

The article presents an evaluation study for the matting and framing methods along with the materials used for the temporary display and preservation of photographs and other art works on paper. Topics discussed include the need to improve traditional in-house framing practices used for photographs, details of the design of experiment (DoE) used for the overall evaluation and the testing of the photographic frames in microclimate conditions. The article also includes the conclusion derived from the research.

The article focuses on the use of design of experiment (DoE) approach for photographs and paper works which may get damaged by the environmental changes. It discusses the need for controlling the environmental factors like relative humidity (RH) and temperature, how the research information gathered have made it possible to recommend materials for framing of photographs and paper in museum collection. It also talks about the use of Mavelseal, which can help to reduce the humidity fluctuations with marginal costs.

A systematic experimental study applying nanosecond laser pulses with 532 nm radiation to a specially selected set of historical paper samples exhibiting a broad range of composition and origin was undertaken to develop a quantitative irradiation dose model. This allows the optimisation of laser pulse number and fluence in order to maximise cleaning efficiency while excluding substrate modifications such as yellowing or destruction. [ABSTRACT FROM AUTHOR]

There has been a growing interest in laser cleaning applications for a variety of organic materials such as paper, parchment, textiles, and leather during the last decade. However, archaeological organic materials, notably papyrus, have rarely been investigated. This contribution examines whether removal of burial encrustation can be justified in view of its short-term and long-term effects on the substrate. To examine this, tests using mock objects have been performed. Using artificially soiled and archaeological papyrus samples, optimization of laser cleaning parameters using a picosecond laser (1064 nm, various operating conditions) was attempted. Optimization was based on colorimetry, optical microscopy, scanning electron microscopy, Fourier transform infrared spectroscopy, and cellulose degree of polymerization data, both before and after accelerated degradation. In papyrus, there is no clear damage threshold, and substrate degradation can always be observed and is comparable in treated (cleaned) and untreated (soiled) objects. Therefore, the decision on whether to clean papyrus using lasers is predominantly based on aesthetic and treatability (e.g. need for consolidation) criteria. [ABSTRACT FROM AUTHOR]

The effect of nanosilica particles on the water resistance of a polyurethane/nanosilica composite coated paper substrate was investigated. The polyurethane/nanosilica composite coating was prepared by dispersing nanosilica powder into solvent-based polyurethane using high mechanical stirring force. Paper substrate was coated with polyurethane/nanosilica composite using a Rod Mayer technique. Various compositions of polyurethane/nanosilica composite coatings on paper substrate were prepared. The total thickness of the paper coated with polyurethane/nanosilica composite was 0·3 mm. The field emission scanning electron microscopy images indicated that the presence of nanosilica has improved the surface roughness and porosity of paper substrate. The addition of nanosilica in polyurethane coating had increased the water resistance ability of the coated paper. It was demonstrated that polyurethane/nanosilica-6% shows better water resistance and exhibits better thermal stability than the nanocomposites with lower nanosilica loading. Fourier transform infrared spectroscopy result shows that there was no chemical reaction between nanosilica and polyurethane. [ABSTRACT FROM AUTHOR]

The article looks at traditional Korean practices of the mounting of paintings, discussing a research project on the subject being carried out at Paris-Sorbonne University, Paris, France and the Hirayama Studio of the British Museum, London, England. It focuses on two 18th-century portrait paintings from the Joseon dynasty period, a portrait of scholar Kang Se-hwang and a portrait of Korean Prime Minister Ch'ae Che-gong, both attributed to artist Yi Myong-gi. Topics include the rarity of older Korean paintings with their original mountings, the use of silk backings, rods, and roller knobs in mountings, and differences between Korean, Japanese, and Chinese mountings.

A Japanese painting on paper, in the form of a horizontal scroll from the Stibbert Museum in Florence, is being treated at the ISCR Paper Conservation Laboratory. The scroll, entitled Bamo Dōi-zu represents 33 different types of horses. Although there is no author's seal, it has been attributed to the famous Japanese artist, Kanō Sansetsu (1589-1651). Before conservation treatment, the artefact underwent technical and scientific examination in order to identify its materials and determine its conservation condition. As sampling paint layers from paintings on paper is extremely invasive, non-destructive techniques such as X-ray fluorescence spectroscopy, Raman spectroscopy, Fourier transform infrared spectroscopy, and spectrophotometry were employed. Several points from the paper support were analysed: the metal-leaf decorations, the seals and calligraphy, as well as the painted horses. Results detected and revealed a very simple palette: cinnabar (or its synthetic equivalent vermillion), shell white, carbon black, and the organic yellow gamboge. Pure gold and silver leaves were used for decorating the frontispiece. Useful information was obtained from the paper support and on its conservation conditions. Micro-destructive analyses were also performed on a few paper fragments for microscopic and scanning electron microscope equipped with an X-ray probe analysis. Results showed that materials and techniques are consistent with the Kanō School period. [ABSTRACT FROM AUTHOR]

Historic parchment is a complex biological material, and due to various methods of production or inks used, unknown environmental histories of objects and heterogeneous nature of animal skin, it represents a particular analytical challenge. Due to the number of variables it is likely that patterns in degradation of these historic objects can only be revealed by surveying the material properties of a significant number of real objects. In this work, a sacrificial collection of ca. 100 historic parchments (fifteenth to twentieth century) was characterized using a range of techniques available to conservation practitioners that can usefully be used to reliably and rapidly characterize parchment. We focused on micro-destructive methods, such as shrinkage temperature ( Ts), as the most widely used indicator of parchment degradation. Lipid content, roughness, and ink pH were additionally measured, while a limited number of samples containing iron gall ink were also examined using scanning electron microscopy (SEM) and SEM-EDX, to explore the distribution of ink components. Even in the absence of detailed environmental histories, it is possible to acknowledge the significance of the effect of iron gall ink and its acidity, and of lipids on parchment degradation, as measured using Ts. This research reports valuable reference data, while the collection remains accessible for further research. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the American Institute for Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Upon aging, paper documents and books become progressively damaged. Paper deacidification is a fundamental conservation intervention. In this study, we report on the use of nanoparticles of titanium dioxide (TiO2) and magnesium hydroxide (Mg(OH)2) associated with hydroxyethylcellulose (HEC) to inhibit acidification, photo-induced degradation, and biodeterioration of paper. With the aid of ultrasound, Mg(OH)2 nanoparticles with a narrow size distribution can be obtained through homogeneous precipitation in water. Furthermore, to demonstrate the efficacy of the nanocomposite and the performance of treated and untreated paper, photo- and thermal-induced degradation is discussed. The results show that using the controlled double-jet precipitation (CDJP) it is possible to synthesize Mg(OH)2 particles with a narrow size distribution (18-87 nm). The nanocomposite of Mg(OH)2-TiO2-HEC increases the durability of paper by imparting fungal growth resistance (D= 34.6 mm), moderate alkalinity (pH = 8.4), mechanical reinforcement (from 817-896 N/m), and UV protection. Additionally, there is a slight color difference (ΔE* = 0.8) between the treated and untreated paper. Both photodegradation and thermal degradation indicate that the paper treated with this nanocomposite (Mg(OH)2-TiO-HEC) has increased stability. [ABSTRACT FROM AUTHOR]

Between 1941 and 1968, Marcel Duchamp produced a series of roughly 300 boxes, or Boîtes, containing, in his words, 'everything important that I have done' (Sargeant,W. 1952. Dada's Daddy: A New Tribute is Paid to Duchamp, Pioneer of Nonsense and Nihilism. Life, 32(17): 102). Over the course of 30 years and seven editions, Duchamp and his assistants filled these 'portable museums' with miniature reproductions of his most significant works. The materials used included leather, paper, cloth, metal, glass, ceramic, cellulose acetate, gouache, varnish, and wood. The variety of the constituent materials, and the complex physical and conceptual ways in which they interact, make conservation treatment of the Boîtes unusually challenging. The conservator must consider both the condition of the specific Boîte being treated and its relationship to the dozens of other Boîtes still in existence. After an overview of the history and manufacture of Duchamp's miniature museum, the results of a pilot survey of the condition of 19 Boîtes will be presented, and treatment solutions to the most common condition problems proposed. [ABSTRACT FROM AUTHOR]

In the course of the study of the author of this article on early vernacular manuscripts, she have become increasingly aware of the role played by the parchment itself in the communicative system of French medieval codices. This surface, so carefully prepared for the inscription of the text, is itself a skin, and every skin, whether animal or human, is unique. She finds evidence of this individuality not only in the color of the skin and its particular tactile quality but also in its imperfections: holes, tears and cuts. Such imperfections have hitherto received little attention, but, as she has been able to establish, they are often integrated by the scribe into the system of meaning of the codex and therefore richly repay close scrutiny. Presented in this article are three examples, chosen to suggest the range of such effects.

Copyright of Studies in Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studies in Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studies in Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studies in Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studies in Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article reports on the development and use of behavioral objectives for improving the field experiences in student teaching presented by the Directors of Student Teaching at the State of Illinois Colleges and Universities, both private and public institutions. A form of position paper regarding this importance issue was made to present the opinions of the directors. The behavioral objective is to examine narrowly the work of the beginning teacher and focus attention on defined skills and behaviors to be achieved. The development and use of behavioral objectives are one approach on the problem of making pertinent efforts on improving the teaching education.

The article presents a historical survey of printmaking. The relief process is one of the oldest means of repeating design with the use of something like a rubber stamp or a typewriter key. After 100 A.D., the invention of paper by the Chinese paved the way for the use of the first smooth, cheap and tough surface for printing. Meanwhile, the Dutch created blockbooks by chipping religious texts and images on a plank of wood, inking it and printing by rubbing the back of the paper. In Europe the use of woodcuts invigorated translations from Latin and vernacular writings intended for the general reader.

Copyright of Studies in Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the artificial aging of paper used in the conservation of historic paper documents, focusing on the durability such treated paper. Topics include a discussion of the pigments used, such as gamboge, ochre, and carbon black ink, and plant dyes used such as valonia, tea, sophora flower bud and Cape jasmine; the practice of thermal aging and ultraviolet light ageing; the suitability of various types of commercially available paint in China for restoration work; and assessments of the tensile, fold, and tear strength of xuan paper treated with such methods.

The article focuses on the element of translucency in crafts. Translucency is one of the delightful qualities obtained in some of the arts mystery. In stimulating experimentation with translucency, the teacher will have a need for inexpensive material consisting of crystal tissue papers, plastic wrapping papers, sheer fabrics and papers oiled in old-fashioned ways. Considering the shape and the line, the craftsman may not depend on the intrinsic qualities of his materials as upon their selection and management. Moreover, a translucent window hanging can save a room from glare or lost privacy.

The article announces that Warren Board Sales Ltd. was chosen by International Paper Co. as distributor of its C1S and C2S grades of one- and two-sided coated solid bleached sulphate paper in Great Britain.

The author reflects on which high-value commodity could be put forward for the 100th Jubilee spot in the U.S. as of July 2012. He believes the link between an anniversary and the particular commodity associated with it could be proportional to the item's value, such as paper, cotton and leather celebrating the first five years. He is proposing oil, which has reached a price of around 100 U.S. dollars per barrel (bbl), to have that 100th Jubilee spot.