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In the artistic creation, paper is one of the materials which is used as an indispensable support due to its great versatility. So, there are a lot of artists working with this material in their different configurations. In this way, we find artistic works that consider paper as a support and building material with which we can create and combine different plastic elements. Therefore, this work is an investigation which presents in a summarized way all the processes and materials that artists use with the aim of creating works with paper pulps. The main part of this work shows some of the multiples possibilities and expresive combinations that pastes made up by artists offer. They are described all the processes, tools and materials which are used in the works. Besides, diverse variations by the artists are included to optimize the expresive character. Works researched in this article are from artists with recognized international prestige as Chuck Close, David hockney, Bill Weege or Lucio Muñoz. En la creación artística el papel es uno de los materiales más utilizados como soporte por su enorme versatilidad. Por ello, existen infinidad de artistas trabajando con este material en sus variadas configuraciones. En este sentido encontramos obras artísticas que no solo consideran el papel con material de estructura, sino como materia de construcción de la obra con el que crear y combinar multitud de elementos plásticos. Este trabajo es una investigación que presenta de manera sintetizada los procesos y materiales que utilizan artistas que crean sus obras con pastas papeleras. En el corpus central del trabajo mostramos desglosadas, algunas de las múltiples posibilidades y combinaciones expresivas que ofrecen las pastas producidas por artistas. Se describen procesos, herramientas y materiales utilizados en la obtención de las obras. Además se incluyen diversas variantes llevados a cabo por los artistas para optimizar el carácter expresivo. La serie de obras investigadas en este artículo pertenecen a artistas de ámbito internacional como Chuck Close, David Hockney, Bill Weege o Lucio Muñoz.

Deacidification is an established conservation treatment for the prolongation of the acidic paper stability. Several different deacidification systems are in use today, such as the dispersions of alkaline nanoparticles in organic solvents. The aim of the study was to compare the effects of different calcium nanoparticle dispersions in alcohols on lignocellulosic paper. Commercially available nano calcium hydroxide dispersions for paper deacidification, and laboratory prepared nano calcium carbonate dispersions in ethanol and 2-propanol were investigated and compared as to their effectiveness in increasing the stability of paper. The FE-SEM analyses were used to determine the size of Ca(OH)2 and CaCO3 particles in the dispersions. The SEM–EDS analyses were performed both on the paper surface and its cross-section in order to ascertain the distribution of calcium ions following the deacidification treatment. An evaluation of the changes of color, molecular weight, pH and alkaline reserve on different lignocellulosic papers was performed. In comparison to untreated samples, our results indicate all the investigated deacidification treatments decrease the degradation rate constant of cellulose, as determined by accelerated degradation. However, the treatments involving nano calcium hydroxides in both alcohols noticeably affect the color of the treated lignocellulosic papers. According to the obtained results, nano calcium carbonate is therefore the more suitable deacidification agent for the lignin containing papers.

The study of micro-objects, both inorganic and organic, which can be found associated to parchment or cellulose fibres of books and documents, or in the inks and the dirt, accumulated over the centuries between the pages, can unravel important information on the manufacture of the ancient documents, on their past vicissitudes or on the causes of aging and deterioration of the materials they contain. The results of a critical observation of micrometric objects and structures with a diagnostic or archaeological significance have in some cases been surprising. Apart from the curiosity that certain findings may or may not raise, what needs to be discussed is the fact that some chemical components, usually attributed to the manufacture of materials or the inks may instead have a particular origin and nature, and therefore lead, if not properly highlighted, to some erroneous diagnostics. Examples are given where the information obtained by means of scanning electron microscope imaging and Raman microscopy were coupled with dispersive X-ray microanalysis and Fourier Transform Infrared Spectroscopy.

Cet article porte sur le traitement de conservation d’un portrait miniature encadré, peint sur ivoire, et datant du XIXeme siècle. L’objet était en mauvais état, toutes les pièces nécessaires au maintien de l’objet étaient séparées les unes des autres. D’autre part elles avaient été assemblées avec des rubans adhésifs (bruns et transparents). Cet article examine l’état de conservation de l’objet et décrit les traitements de restauration: technique employée pour retirer le ruban adhésif, réparations du papier; nettoyage de l’envers de la peinture et remontage du cadre avec des matériaux de conservation appropriés pour le renforcer et assurer sa stabilité. This article addresses the conservation treatment of a 19th century framed miniatured portrait painted on ivory. The object was in poor condition, with all the pieces necessary to hold the object separated and with the attempt of securing these parts with brown and clear adhesive tape. This article addresses the condition of the object and consequently, the treatments undertaken for its conservation: tape removal procedure with heat and solvents; paper mending and repairs; cleaning process of the back of the painting and remounting process of the frame with appropriate conservation materials to strengthen it and provide stability.

Conservation environment with high humidity content or exposure to liquid water are directly linked to degradation of cellulosic materials, such as paper and fabrics. This research had as main objective the development of formulations based on two water-repellent products commercially available: a fluoroacrylic co-polymer and a polydimethylsiloxane. The purpose was to test their applicability to paper and textiles, both ancient and modern. Different analytical techniques have been used: FTIR-ATR spectroscopy, colorimetric analysis, observations by SEM-EDX and light microscopy, contact angle measurement and mechanical strength. Applications were carried out by spray and immersion achieving a systematization of the method and the choice of non-toxic solvents. Two of the four formulations tested were prepared with the addition also of silica nanoparticles. The results highlighted the compatibility and effectiveness of fluoroacrylic polymer with low nanosilica percentages applied by immersion.

Bleaching of paper artefacts has recently become a highly contentious issue with scientific research indicating risks to both media and support. However, there remain occasions where bleaching enhances legibility or improves aesthetic appreciation. A thorough review of the literature is presented to offer practical advice and a better understanding of the chemistry behind the processes, thus minimising risks. Le blanchiment d’artefacts en papier est récemment devenu une question très controversée de la recherche scientifique, pointant des risques pour les médias et le soutien. Cependant, il reste des cas où le blanchiment renforce la lisibilité ou améliore la perception esthétique. Un examen approfondi de la littérature aide à formuler des conseils pratiques; une meilleure compréhension de la chimie derrière les processus aide à réduire les risques.

Les systèmes de stockage pour les œuvres d'art grand-format sur papier sont examinés en ce qui concerne la protection de l'objet, la satisfaction de l'utilisateur et la durabilité par la voie d’une analyse de cycle de vie des matériaux de fabrication des meubles et une enquête portant sur l’expérience d’une centaine d’institutions dans le monde en matière de stockage des œuvres grands formats. Des recommandations générales en sont tirées ainsi qu’une liste simple de contrôle pour faciliter les achats de meubles grands formats par les professionnels des musées.Storage systems for oversized works of art on paper are examined regarding object protection, user satisfaction and sustainability by way of a life cycle assessment of furniture materials/construction features and a survey of about 100 institutions worldwide on their experience with oversize storage. General recommendations are derived and a simple checklist is developed to facilitate oversize purchase by museum professionals.

L’évolution urbaine de Thiers est profondément marquée par une intense activité industrielle avérée depuis près de sept siècles. Cet impact est particulièrement perceptible dans les gorges de la Durolle, occupées par près de quarante usines ou ateliers. L’industrie est également très présente dans le centre ancien, où les étendoirs de papeterie et les ateliers de couteliers à domicile sont parfaitement intégrés dans l’habitat médiéval. On constate également que les grandes avancées techniques ayant émaillé l’histoire de l’industrie aux XIXe et XXe siècles ont eu des conséquences indéniables sur l’évolution de la ville et des usines : l’évolution des axes de communication, la mécanisation des procédés de fabrication, l’électrification, ont permis un développement sans précédent de la coutellerie et de la cité tout entière.The evolution of the town of Thiers is strongly marked by the intense industrial activity of the locality, specialised in cutlery production for nearly seven centuries. This impact of industry is particularly visible in the Durolle gorge, where there are nearly forty factories and workshops. The presence of industry is also perceptible in the historic centre of the town, where drying sheds for paper and cutlery workers’ shops are integrated into the medieval habitat. The technical advances which marked the industry during the nineteenth and twentieth centuries also had a notable influence on the evolution of the town and its factories. The development of means of communication, the mechanisation of production processes and electrification all contributed to an unprecedented growth of cutlery production and of the town as a whole.

We don’t know much about the smells of the past. Yet, odours play an important role in our daily lives: they affect us emotionally, psychologically and physically, and influence the way we engage with history. Can this lead us to consider certain smells as cultural heritage? And if so, what would be the processes for the identification, protection and conservation of those heritage smells? In order to answer these questions, the connection between olfaction and heritage was approached in three ways: (1) through theoretical analysis of the concept and role of olfaction in heritage guidelines, leading to identification of places and practices where smell is fundamental to their identity, (2) through exploration of the evidence for use of smells in heritage as a tool to communicate with audiences; and (3) through experimental evaluation of the techniques and methods for analysing and archiving the smells, therefore enabling their documentation and preservation. We present this through the framework of Significance Assessment—Chemical Analysis—Sensory Analysis—Archiving. The smell of historic paper was chosen as the case study, based on its well-recognized cultural significance and available research. Odour characterization was achieved by collecting visitor descriptions of a historic book extract through a survey, and by conducting a sensory evaluation at a historic library. These were combined with the chemical information on the VOCs sampled from both a historic book and a historic library, to create the Historic Book Odour Wheel, a novel documentation tool representing the first step towards documenting and archiving historic smells.