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Kültür varlıklarının korunması ve varlığını sürdürmesi için gerçekleştirilen konservasyon çalışmaları doğru bir metodolojiye dayanmalıdır. Farklı malzeme ve tekniklerle oluşturulan eserler içerisinde el yazması eserler, sanatsal ve tarihi öneminin yanı sıra önemli bir bilgi taşıyıcılık misyonu üstlenmektedir. Yazının icadından sonra taş, metal, kil, tekstil gibi farklı yazı zeminleri kullanılmıştır. En önemli yazı zemini olan kâğıdın icadı yazılı kültürün gelişmesini ve yüzyıllar boyunca aktarılmasını hızlandırmıştır. Geleneksel kâğıt yapımında kullanılan hammadelerin doğadan kolayca elde edilebilmesi, taşınmasının kolay olması, bir araya getirilebilir olması kâğıt kullanımını yaygınlaştıran etkenlerden sadece birkaçıdır. El yazması eserler organik kökenli malzemelerin bir araya getirilmesi ile oluşmaktadır. Bu nedenle diğer malzeme gruplarına oranla bozulma süreci daha hızlıdır. Genel olarak geriye dönüşümü pek mümkün olmayan bozulmalar fiziksel, kimyasal ve biyolojik değişimlere neden olarak eserin orijinal bütünlüğünü bozmaktadır. Bu bozulmaların boyutu ve ilerlemesi farklı ortam şartlarına göre değişebilmektedir. Eserin üretim teknolojisinin yanı sıra içinde bulunduğu çevresel koşulların (sıcaklık, nem, ışık gibi) da bozulmaların değerlendirilmesinde ele alınması gerekmektedir. Her ne kadar tahribatı geriye döndürmek mümkün olmasa da ilerlemesini durdurmak ve yeniden bozulmasına neden olacak koşulları ortadan kaldırmak mümkündür. Bu nedenle konservasyon metodunu belirlemeden önce detaylı bir belgeleme ve analiz çalışmasının yapılması gerekmektedir. Bu bağlamda tez çalışmasında yazının tarihsel gelişimi hakkında geniş bir literatür taraması yapılmıştır. Kil tabletler, papirüs, parşömen ve kâğıdın tarihçesi araştırılmıştır. Çalışmada kullanılan eserin belgelemesi detaylı olarak yapılmıştır. Xrf spektroskopisi, Raman spektroskopisi, Lif analizi, pH ölçüm değerleri, Kolorimetre, dijital mikroskop ile inceleme analizleri konservasyon çalışmalarına başlamadan önce incelenmiş olup sonuç ve değerlendirmeler tez çalışmasında sunulmuştur. Bu değerlendirmeler sonucunda yapılacak müdahaleler tespit edilerek aşamalı olarak aktarılmıştır., Conservation studies carried out for the protection and survival of cultural assets should be based on a correct methodology. Among the works created with different materials and techniques, manuscripts, besides their artistic and historical importance, undertake an important information carrier mission. After the invention of writing, different writing grounds such as stone, metal, clay, textile, etc. were used. The invention of paper, which is the most important writing ground, accelerated the development of written culture and its transmission for centuries. The fact that the raw materials used in traditional papermaking can be easily obtained from nature, are easy to transport, and can be combined are just a few of the factors that make the use of paper widespread. Manuscripts are composed of materials of organic origin. For this reason, the deterioration process is faster compared to other material groups. In general, irreversible deteriorations cause physical, chemical and biological changes, thus disrupting the original integrity of the work. The extent and progression of these deteriorations can vary according to different environmental conditions. In addition to the production technology of the work, the environmental conditions (such as temperature, humidity, light) should also be considered in the evaluation of deterioration. Although it is not possible to reverse the destruction, it is possible to stop its progress and eliminate the conditions that will cause it to deteriorate again. For this reason, a detailed documentation and analysis should be done before determining the conservation method. In this context, a wide literature review about the historical development of writing was made in the thesis study. The history of clay tablets, papyrus, parchment and paper was investigated. The work used in the study was documented in detail. Xrf spectroscopy, Raman spectroscopy, Fiber analysis, pH measurement values, colorimeter, digital microscope analysis analyzes were examined before starting the conservation studies, and the results and evaluations were presented in the thesis study. As a result of these evaluations, the interventions to be made were determined and transferred gradually.

[ES] En el presente Trabajo Final de Máster se realiza una investigación sobre siete adhesivos diferentes en formato aerosol o spray, ya que son materiales comunes, económicos y de fácil y rápida aplicación. En primer lugar, se analiza el material del que están compuestos, sus propiedades, y se realiza breve recorrido histórico. En segundo lugar, se consideran los posibles problemas de uso que presenta la utilización de estos adhesivos en obra, su estabilidad, reversibilidad y si se adaptan o no a los requisitos que se establecen en Conservación y Restauración para una junta adhesiva adecuada. Posteriormente, se ha diseñado el proceso experimental, de modo que se adapte a la normativa ISO para asegurar su reproducibilidad. Así, se han realizado pruebas de pelado, cizalladura y disolución, entre otras, en condiciones normales y tras un proceso de envejecimiento acelerado. De los resultados obtenidos en estas pruebas se concluye si estos adhesivos son o no adecuados para su utilización en Bienes Culturales, y más concretamente en obra gráfica. Por último, este Trabajo Final de Máster pretende ser un posible punto de partida para otras investigaciones en esta dirección, dada la falta de precedentes., [EN] In this Final Master's Project, we made an investigation about seven different spray adhesives, because they are widely available, cheap and fast and easy to apply materials. Firstly, we analyze the material of which they are composed, their properties, and a brief historical research. Secondly, we considered the possible usage problems that shows the deployment of this adhesives in works of art, their stability, reversibility and if they suit or not in the requirements that Conservation and Restoration have for an appropriate adhesive joint. Consecutively, we analyzed the cases in which we have used this kind of adhesives o similar ones in Conservation and Restoration of Cultural Heritage's field. After that, we have designed the experimentation so it adapts to ISO's regulations to ensure their reproducibility; This revolves around peel and shear tests, dissolution, among others, in standard conditions and after accelerated aging processes. From the archived results in this samples we concluded if these adhesives are convenient for their use on Cultural Heritage (specifically in graphic artworks) or not. Finally, this Final Master's Project pretends to be a possible starting point for further researches in this direction given the lack of precedents.

Nizozemski je institut za kulturnu baštinu sredinom devedesetih godina prošlog stoljeća predstavio stabilizaciju željezno-galne tinte fitatnim postupkom kao konzervatorsku metoda usporavanja degradacijskih procesa na rukopisima te je od tada ona dobro istražena različitim znanstvenim metodama. Trenutno se smatra najučinkovitijom i prihvaćenom metodom zaštite rukopisa pisanih ovim tintama, ali zbog invazivnosti tretmana, često nije prvi odabir mnogih konzervatora-restauratora. U ovom su radu prikazana dosadašnja saznanja o degradacijskim procesima papirne podloge uzrokovanih željezno-galnom tintom, teorijske i praktične pretpostavke za fitatni postupak, učinkovitost metode, kao i njezini nedostaci, kritički predstavljeni na primjerima triju rukopisa čije se konzerviranje-restauriranje izvodilo na Odjelu Zaštite i pohrane Nacionalne i sveučilišne knjižnice u Zagrebu., In Western civilization, iron-gall ink was the most commonly used writing medium from the early Middle Ages to the late 19th century. Due to the high acidity of the ink, the surface on which the ink is used rapidly degrades. In the case of paper, corrosion of iron-gall ink accelerates the process of hydrolytic decomposition of cellulose from paper fibres, while acidic hydrolysis products further stimulate oxidation reactions. As a result, the paper darkens, becomes brittle, eventually cracks, and completely disintegrates. There is no universally accepted solution for this conservation problem, which threatens a significant portion of the world’s written heritage. Most heritage institutions dealing with manuscripts written on paper with iron-gall ink focus on preventive conservation which can significantly slow down the decay process. However, targeted individual conservation and restoration interventions should be used for manuscripts that are already in an advanced stage of disintegration, since methods of preventive protection will not stop their disintegration. In the 1990s, the Netherlands Institute for Cultural Heritage proposed a method of conserving manuscripts written on paper with iron-gall ink using the phytate treatment. The process consisted of complexing unwanted Fe2+ into water-soluble Fe3+ ions by immersing the manuscript in a calcium phytate solution, and then rinsing off the water-soluble products by immersion in a solution of calcium bicarbonate, which also left an alkaline reserve in the manuscript. The procedure has been extensively researched, both on laboratory-prepared samples and on original manuscripts, and it is considered the most effective method of preserving severely damaged manuscripts. Due to its invasiveness, limitations and possibly significant side effects, this method is certainly not the first choice for conservator-restorers working on manuscripts, but it is an important part of the comprehensive protection of manuscript heritage. This paper presents, in addition to a theoretical base for the phytate treatment, the practical aspect of manuscript conservation using this method on three manuscripts that have undergone the conservation process at the Preservation and Storage Department of the National and University Library in Zagreb. Due to the specific state of preservation of each of the three selected manuscripts, the course of conservation and restoration research, the work on the manuscripts, and the decision-making process on the most adequate materials and methods of intervention, was not the same. The research and conservation carried out reaffirmed that the necessary precondition for achieving the best results is basing decisions on quality conservation research, good information about the possibilities of conservation methods, and adapting the method to each individual manuscript.

[ES] El presente Trabajo Final de Grado consiste en un estudio técnico y análisis del estado de conservación de un documento notarial en soporte papel de principios del siglo XVIII, procedente de la provincia de Castellón, con el fin de plantear una propuesta de intervención y ejecutarla. El estudio llevado a cabo consta de la búsqueda del contexto histórico del documento así como también de la identificación física de la obra, desde el análisis de los materiales que la componen hasta la realización del diagnóstico de su estado de conservación. Todo ello con el propósito de plantear una propuesta de intervención y poder ejecutarla de la forma más idónea teniendo en cuenta las características del documento. Por último, es importante seguir una serie de recomendaciones sobre la conservación preventiva para asegurar la existencia del documento; con ello se plantea un sistema de almacenamiento para aumentar la estabilidad de la pieza a lo largo de los años., [EN] The present Final Degree Project consists of a technical study and analysis of the state of conservation of a notarial document in paper support. This document is dated to the beginning of the 18th century and it comes from the province of Castellón. The aim of this essay is to raise a proposal of intervention and execute it. The study carried out consists of the search for the historical context of the document as well as the physical identification of the work. To put it simply, it covers from the analysis of the materials that make it up to the diagnosis of its state of conservation. All of this is done with the purpose of proposing an intervention and executing it in the most suitable way, taking into account the characteristics of the document. Finally, it is important to follow a series of recommendations on preventive conservation to ensure the existence of the document. Following this, we propose a storage system to increase the stability of the piece over the years.

[ES] Los sistemas de alisado en tensión son muy habituales en talleres de conservación y restauración del papel. Sin embargo, estos sistemas tienen un impacto sobre ciertas características de las hojas, y de manera muy notable, sobre sus dimensiones, que no son conocidas con precisión. En este estudio, se examinan los principios que explican y condicionan los sistemas de alisado en tensión, sus variante principales, y se evalúa el impacto que tienen sobre las hojas alisadas., [EN] Tension stress flattening systems are very common in paper conservation and restoration workshops. However, these systems have an impact on certain characteristics of the sheets, and, in a very notable way, on their dimensions, which are not precisely known. In this study, the principles that explain and condition tension stress flattening systems and their variants are examined, and is evaluated the impact they have on flattened sheets.

[ES] Con motivo de la práctica en el departamento de restauración de papel del Museo de Sichuan, se ha resumido el proceso de restauración en el campo de la pintura tradicional china, además de varios métodos de tecnología de conservación y restauración de reliquias culturales en papel, y he evaluado las funciones de la técnica tradicional de conservación y restauración, en comparación con la tecnología moderna. La tecnología tradicional de conservación y restauración posee una posición y un papel irremplazables. La efectividad y los procedimientos de la conservación y la restauración del patrimonio cultural en papel es el producto del fortalecimiento de la herencia y la mejora continua de la técnica a través de la tradición. Además, en la actualidad, se cuenta con la estrecha combinación con tecnologías modernas basadas en el desarrollo científico., [EN] On the occasion of my practice in the paper restoration department of the Sichuan Museum, I have summarized the process of restoration of traditional Chinese painting and various methods of technology for the conservation and restoration of cultural relics on paper, and have evaluated the functions of traditional technology of conservation and restoration and modern technology of protection in the conservation and restoration of cultural relics on paper. Traditional conservation and restoration technology has an irreplaceable position and role. The effective way and direction of development of the conservation and restoration of cultural heritage on paper are the strengthening of inheritance and improvement of traditional technology, in close combination with modern technology and scientific evidence.

156-159 В данной статье рассматриваются различные методы реставрации произведений графики, включающие в себя последовательность действий художника- реставратора. In this article various methods of restoration of works of graphics including the sequence of actions of the restorer are considered.

Članak opisuje nova saznanja o tehničkom aspektu grafika Mencija Clementa Crnčića, kao i nove pristupe u restauriranju grafika chine-collé, čiji se nosilac sastoji od dvaju slojeva papira, različite strukture i gramature, spojenih u procesu tiskanja. Opisani su postupci konzerviranja i restauriranja koloriranog bakropisa chine-collé naziva Pod zidom koji je pretrpio znatna oštećenja uzrokovana kemijskim, mehaničkim i biološkim čimbenicima. Uz poderotine, napuknuća i brojna oštećenja površinskog sloja nosioca i medija, estetskom dojmu i vrijednosti umjetnine uvelike su naštetile diskoloracija te masna i vodena mrlja. S obzirom na to da se radi o laminiranom papirnatom nosiocu, poseban izazov u radu bilo je provođenje mokrih tretmana, u cilju uklanjanja mrlja, diskoloracije i kiselosti iz papira, zbog rizika od delaminacije. Nakon opsežnih kemijsko-fizikalnih istraživanja i provedenih suhih tretmana, pokazalo se nužnim (te uz poseban oprez mogućim) provesti tretmane u vodenim otopinama, koji su uključivali pranje, neutralizaciju i izbjeljivanje papira. Izvedena je metoda bijeljenja na suncu, kao najblaža i najsigurnija metoda bijeljenja papira, čija je prednost i to što se izvodi istovremeno s postupkom neutralizacije, u vodenoj otopini kalcijeva hidroksida. Takav pristup rezultirao je uspješnim uklanjanjem mrlja i diskoloracije, čime je postignuto željeno estetsko i strukturno poboljšanje stanja umjetnine., The paper describes the treatment of the chine-collé colour etching Pod zidom, made around 1910 by Menci Clement Crnčić (1865–1930). The artwork was executed on paper with a composite structure, that consists of the imagebearing layer made of thin hand-made paper (chine), adhered to the secondary support (plate paper) made of heavier machine-made paper, during the printing process. The print suffered from severe damage caused by grime, insects, water and inadequate handling and storage. In addition to extensive surface and ingrained dirt on both sides of the paper, nearly the whole top third of the print was significantly discoloured by an oil stain, and the bottom right corner by a water stain (tide line). The paper support became brittle due to acidity, which, in addition to mishandling, resulted in mechanical damage: tears, fraying and cracking, particularly around the margins and in the upper part of the print, with a crack running almost the entire length of the horizontal line. Silverfish (Lepisma saccharina) caused significant abrasion on the top layer of the paper support, on both the margins and the image, leading to several holes, and adding to the paper’s fragility. As the structural and aesthetic aspects of the print were both greatly compromised, the request of the owner, and the goal of conservation treatment, was to strengthen the weakened structure of the artwork, as well as to improve its aesthetic value by reducing discoloration and stains. Due to the delicate nature of the chine-collé print, careful planning and a cautious approach was necessary in order to avoid treatments that might result in the separation of the two sheets forming the paper support. After thorough physical and chemical analysis of both the support and media, followed by the removal of surface impurities using a dry cleaning method, aqueous procedures to reduce the discoloration, stains and acidity proved to be necessary, and actually possible with a sensitive approach. The complex conservation treatment included cleaning with gels and solvents, capillary and blotter washing, deacidification and bleaching. Sun bleaching was chosen as the most sensible treatment method; it is least harmful to cellulose, and simultaneously used for deacidification in an aqueous solution with calcium hydroxide. After the desired aesthetic improvement was achieved, tears and creases were repaired with Japanese paper and wheat starch paste, while the areas of surface loss damaged by silverfish were filled with micro-cellulose powder and thin methylcellulose. An empirical understanding of the properties of the object combined with a careful approach to planning the conservation procedures were key to the success of the project. This approach, which could have compromised the bond between chine and plate paper, ultimately resulted in the successful removal of stains and discoloration, achieving the desired aesthetic and structural improvement of the object.

Yazma eserlerimiz hem tarihi belge hem de yazı ve süslemeleri (tezhip, minyatür, ebru, cilt) bakımından sanatsal değer taşımaktadırlar. Bu eserlerin oluşturulmasında yüzyıllar boyunca sanatçılar, kâğıtlarını kendileri ürettikleri gibi batı ve uzak doğu da üretilen kâğıtları da tercih etmişlerdir. Kâğıtları koruma ve kullanıma daha iyi hizmet verme amaçlı, bir takım nebatlarla renklendirip, aharlamış ,daha sonra da mühre ile parlatarak, günümüze kadar gelen sanatsal çalışmalarını gerçekleştirmişlerdir. Eğitim çalışmalarımızda, `sanat kâğıtları` veya ` özel amaçlı kullanılan kâğıtlar` elde edebilmek maksadıyla, kâğıdın oluşturulma aşamasında bazı müdahalelerin yapılması gerekmektedir. Bu da doğal kâğıt yapımını zorunlu kılan sebeplerin başında gelmektedir. Ayrıca doğal üretilen kâğıtlar ile boya, ahar, mühre, yapıştırma, onarma vb.gibi kâğıdın daha sonra muamele göreceği aşamalardan da daha iyi sonuç alınabilmektedir. Bu düşünce ile kendi kâğıdımızı üretmek ve doğal malzemelerle elde edilen kâğıtlarda yeni tasarımların oluşturulması hedeflenmiştir. Çalışma yöntemi olarak yazma eser restorasyonunda, Kâğıtla onarımda, asitsiz Kâğıtların gerekliliğinden yola çıkılarak, el yapımı Kâğıt üretimi çalışması planlanmış, bu çalışmaları yerinde takip edebilmek amacıyla, Amerika Birleşik Devletlerinin doğusunda bulunan North Carolina (Kuzey Karolina) eyaletinde Raleigh şehrindeki North Carolina State Üniversitesi'nde Paper Science, Natural Resources (Kâğıt Bilimi Doğal Kaynaklar) Department of Forest Biomaterials bölümünde Prof. Dr. Martin A. HUBBE'nin Kâğıt laboratuarında çalışılmıştır. Bu tezde, kendi ürettiğimiz doğal kâğıtlarla tezhip tasarımda eğitime, sanata katkı sağlama ve üretilen dayanıklı el yapımı doğal kâğıdın ayrıca özgün sanatsal çalışmalarda da kullanılabilirliğine ayrıca yazma eser restorasyonu için asitsiz kâğıtlar üretilebileceğine dikkat çekerek; tezhip sanatı eğitiminde sanatsal üretimlerin, günümüze ve geleceğe yansımasında yeni yaratılara, sanata özenin gösterilmesi ve nadide eserlerimizin korunması amaçlanmıştır. Illuminated manuscripts are so valuable as they inherit the information about the depth and the richness of the culture and the history, as well as, the arts. Although majority of the illuminated manuscripts made from paper can be preserved unfortunately some of them are damaged due to various reasons. The reasons why damage occurs on the manuscripts can be counted as the techniques used making the manuscript, natural conditions, and mistakes made by humans. In order for the manuscripts to survive for longer time they should be preserved and restored. Mainly natural and nonacidic papers which were proved to be durable and sustainable are used for restoration. Japanese paper is a perfect example of such papers. The thickness of the manucript being restored should match the paper used to restore it. There are nonacidic Japanese papers with various number of thicknesses; thin Japanese, thick Japanese, transparent papers, mulberry and silicon based papers. Handmade papers are nonacidic, thus they are important in restoration. At Dr. Hubbie's laboratory from the Paper Science and Natural Resources Department of North Carolina State University (Raleigh, NC, USA) some studies performed to investigate handmade papers. Also at the DH Hill Library (NC State University, USA) restoration of books was studied. In this work, different types of papers used in the restoration of illuminated manuscripts and the stages of handmade paper had been discussed. 200

Research in restoration and conservation is directed vs. more sustainable working materials, methods and technologies. Electrophoretic removal, from porous material, of undesired stains due to charged species is theoretically an interesting alternative to chemical cleaning methods, but the lack of specific and comprehensive research work leads to controversial opinions about the efficiency and the needed harmfulness for the treated objects. In this work paper, samples with artificial rust stains were subjected to electrophoretic cleaning treatments in mineral water as electrolyte. Treatments were carried out either in a bath by complete sample immersion between the distanced electrodes or by sample wetting and sandwiching between the electrodes. Evaluation of cleaning efficiency and treatment effects was based on colour change measurements (image analysis of scanned paper samples before and after the treatment and by colorimetric data via spectrophotometric measurements), investigation of morphological changes by SEM observations and folding endurance measurements.

An important part of our cultural heritage consists of paper materials, which are stored in archives and libraries. Deterioration of written cultural relics is attributed to several causes, such as microbial contamination, oxidation, acidification, and others. It is therefore desirable to focus research activities on conservation and restoration techniques to develop appropriate treatments. A new technology in the field of restoration could be plasma treatment, which is a well-established technique in a number of other processes, such as plasma cleaning, etching and coating. The main aim of this project is the removal of microbial contamination combined with an increase in paper strength using a plasma-based treatment. Therefore, a special after-glow plasma reactor was constructed to enable careful paper treatment. Current experiments work with oxidising and reducing process-gases to treat naturally aged groundwood paper. A positive effect on the paper stability was achieved by varying treatment parameters, such as flow, pressure, power and time. An overall increase in paper stability of up to 20 % was possible. Parallel investigations using plasma treatment for microbial cleaning were carried out. Certain amounts of different fungi and bacteria were spread on naturally aged paper. After plasma treatment, the reduction in microorganisms was measured. This proved the fungicidal and bactericidal action of the after-glow plasma treatment. Nevertheless, optimisation with regard to different microorganisms and kinds of papers must be considered.

İ.Ü.Edebiyat Fakültesi Kütüphanesi Nadir Eserler Bölümü'nde bulunan el yazmalarının bozulma durumları tespit edilerek koruma önerileri ortaya konmuş ve örnek restorasyon uygulamaları gerçekleştirilmiştir.Tez kapsamında öncelikle bozulma durumu tespit formları hazırlanarak tüm el yazmalarının görsel taraması yapılmış ve kaydedilmiştir.Mekandaki sıcaklık ve nem koşulları kayıt edilerek değerlendirilmiş, böcek hasarı, kağıtların asitlenme durumları, restorasyonda kullanılan yapıştırıcının ve yöntemin seçimi konularında çalışmalar yapılmış ve çözüm önerileri ortaya konmuştur.Nadir Eserler Bölümü'nde; bazı yanlış ve eserlere zarar veren uygulamalar tespit edilmiş, bu uygulamaların önlenmesi için personelin eğitimi konusunda bir program hazırlanmıştır.Yangın ve güvenlik önlemleri, kütüphane mobilyaları konularında seçenekler sıralanarak Nadir Eserler için en uygun olan yöntem ve malzemeler önerilmiştir.Örnek restorasyon uygulamaları için seçilen kitabın onarımında kullanılan tümleme yönteminin yırtılmaya karşı direnci ölçülerek uygunluğu kanıtlanmıştır.Bütün bu araştırma ve tespitler neticesinde sunulan önerilerin değerlendirilmesi ile Nadir Eserler Bölümü'nde bulunan el yazmaları sağlıklı ortam şartlarına kavuşacak ve bozulmaları yavaşlatılacaktır. Having determined the deterioration condition of the manuscripts in the Library of Rare Works at Istanbul University, Faculty of Letters, solutions were proposed and model practices were conducted for restoration.Within the scope of the thesis, forms to detect deterioration condition were prepared and all the manuscripts were visually scanned and saved.The temperature and humidity of the space were recorded and evaluated; insect damage, acidification condition of the manuscripts and the selection of the adhesives and methods to be used in the restoration process were discussed, and solutions were proposed.As for the section of rare works, some damaging methods were detected and a special program was designed to train the staff to avoid such practices.Options on fire and security measures as well as library furniture were listed, and the most appropriate methods and materials for Rare Works were proposed.The complementation method used in the restoration of the book selected for the model practice was tested for its resistance to tearing and its suitability was proven.As a result of all this research and the evaluation of solutions proposed in response to the findings, the manuscripts in the Rare Works Section will be provided with a healthy environment which will slow down their deterioration. 242

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.

Cette etude decrit le controle de qualite du traitement de conservation (desacidification au moyen d'une solution d'hydroxyde de calcium) applique au papier des Archives historiques du KKE (Parti Communiste Grec) apres l'inondation de 1994. Les proprietes essentielles du papier : chimiques, mecaniques et optiques ont ete examinees (le pH, la resistance au pliage, les coordonnees des couleurs L * et b * du systeme CIE L*a*b*) ainsi que les proprietes structurales a l'aide de la methode de microscopie des fibres optiques. Un des objectifs poursuivis par la conservation consiste a reduire le taux de degradation des proprietes du papier. Les resultats ont mis en evidence que la degradation des proprietes mesurees, obtenue apres 6 jours de vieillissement accelere a 105°C, ralentissait grâce au traitement de conservation. Seules les proprietes optiques des echantillons contenant de la lignine se sont degradees suite a l'oxydation de la lignine dans le milieu fortement alcalin du bain de desacidification. L'analyse des constituants principaux a revele qu'il existe une forte correlation entre les coordonnees des couleurs et la resistance mecanique des echantillons ne contenant pas de lignine. Il semble que l'utilisation de la methode experimentale appliquee dans cette etude puise etre recommandee aux institutions d'archives bien organisees pour les tests de routine dans le controle de qualite des traitements de conservation.