IF ONLY I HAD KNOWN LOOKING BACK, MOVING FORWARD' - IADA International Symposium Amsterdam
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'IF ONLY I HAD KNOWN
LOOKING BACK, MOVING FORWARD'
IADA ‐ International Symposium
Amsterdam
14 - 16 May 2014
I A D A I N T E R N AT I O N A L S Y M P O S I U M 2 0 1 4
‘IF ONLY I HAD KNOWN –
LOOKING BACK, MOVING FORWARD’
Amsterdam 14-16 May 2014
Programme
www.iada-home.org
Wednesday, 14 May 2014: Lectures Thursday, 15 May 2014: Lectures Friday, 16 May 2014: Workshops
(KNAW, Kloveniersburgwal 29) (KNAW, Kloveniersburgwal 29) (Amsterdam, The Hague)
09.00-10.00: Registration and Refreshments Chair: Janien Kemp (Amsterdam City Archives) Burnt but not Lost—Manuscripts Preserved
10.00-10.30: Welcome at the Amsterdam City Archives
10.00-10.30: Clara de la Pena Mc Tigue (Natio-
Representatives of IADA and RCE nal Maritime Museum, London): Van de Velde Lecturers: Cristina Duran, Jochem Kamps,
drawings—A history of interventions Femke Dijkhuis and Janien Kemp
Chair: Birgit Reissland (Rijksdienst voor het
Location: Amsterdam City Archives, Vijzelstraat 32
Cultureel Erfgoed, Amsterdam) 10.30-11.00: Oulfa Belhadj, Claire Phan Tan
Time: 10.00-12.00 and 14.00-16.00
10.30-11.00: Key-Note speaker: Salvador Luu, Eliza Jacobi, Sylvie Meslet-Struyve, Sandra
Vez, Birgit Reissland and Véronique Rouchon 100 Years of Mounting: Traditions and
Muñoz-Viñas (Polytechnic University Valencia):
(Paris, Amsterdam): The Dutch Fe-Migration Recent Developments in the Mounting
These are my principles. Reversibility and mini-
mending test—Exploring further areas of use of Works of Art on Paper and Photographs
mal intervention in paper conservation
in the Rijksmuseum
11.00-11.30: Johanna Fries Markiewicz (Natio- 11.00-11.30: Coffee Break
Lecturers: Idelette van Leeuwen, Peter Polder-
nal Library of Sweden, Stockholm): The object 11.30-12.00: Penelope Banou, Athena Alexo- vaart, Martin Jürgens and Dionysia Christoforou
interlinked—Conservation decisions at the plolou and Brian W. Singer (Athens, North-
Location: Rijksmuseum Amsterdam, Hobbema-
National Library of Sweden umberland): The treatment of oil paintings straat 22
11.30-12.00: Elmer Eusman (Library of Con- on paper supports—Considerations on the
Time: 9.30-12.00 and 13.30-16.00
gress, Washington): Unintended consequences treatment applications used from the past
until the present If Only the Stedelijk Museum Had Known—
in conservation Looking Back at the Poster Collection
12.00-13.30: Lunch provided by IADA 12.00-12.30: Alexandra Nederlof and Elizabet Conservation History
Nijhoff Asser (Amsterdam): Lessons learnt
Chair: Tanja de Boer (Koninklijke Bibliotheek, Lecturers: Monica Marchesi and Tessa Rietveldt
from the restoration in 1980 of a 19th century
The Hague) papier-mâché anatomical model of a life size Location: Stedelijk Museum Amsterdam
13.30-14.00: Interactive session: ‘Looking back’ horse made by Docteur L.T.J. Auzoux (1797- Time: 10.00-12.00
1880) Articheck—A Condition Checking App
14.00-14.30: Claudia Colini (Rome):
When conservation forgets codicology 12.30-13.30: Lunch provided by IADA Lecturer: Annika Erikson (UK, CEO, Articheck)
14.30-15.00: Karin Scheper (University Library Chair: Bas van Velzen (Universiteit van Location: Hobbemastraat 22
Leiden): A tight fit? Changing opinion on Islamic Amsterdam) Time: 10.00-12.00 and 14.00-16.00
bookbinding structures 13.30-14.00: Interactive session: ‘Moving Faded Colour Photographs in Art
15.00-15.30: Coffee Break forward’ Collections—Material and Practice
15.30-16.00: Elizabet Nijhoff Asser, Godfried 14.00-14.30: John Slavin (Mississauga, Canada): Lecturer: Clara von Waldthausen
Brands and Martine Posthuma de Boer (Am- Paul Klee—A case study in how localized treat- Location: Fotorestauratie Atelier VOF,
sterdam): Gilt leather in distress—Tensioning ment can affect the dimensional stability of Van Diemenstraat 410-412
systems of gilt leather wall hangings paper Time: 11.00-13.00 and 14.00-16.00
16.00-16.30: Nadine Thiel and Jule Janssen 14.30-15.00: Marion Verborg (Historical Archive Mass Deacidification, Book Conservation,
(Historical Archive of the City of Cologne): of the City of Cologne): Conservation project of Form and Content: Digital Reproductions
Reviewing the ‘Utrechter Hängung’—Mounting Roy Lichtenstein’s screenprints on plastic and Boxing—Strategic Policies Reassessed
for parchment charters 15.00-15.30: Coffee Break Lecturers: Henk Porck, Constant Lem, Gabriëlle
Beentjes and Paulien Rings
16.30-17.00: István Kecskeméti (National Arch- 15.30-16.00: Eve Menei and Laurence Caylux
ives, Helsinki): Crepelin lining—A harmful con- Location: Koninklijke Bibliotheek, The Hague
(Paris): Something is rotten in the state of inlays
servation method from the 1970s Time: 10.00-12.00 and 13.00-15.00
16.00-16.30: Lydia-Chara Pavlopoulou (Bank
17.00-17.15: Final remarks Light, Lux, Luxhours, LED and Low Level Risk:
of Greece, Athens): Passions—Les Fleurs du Mal
Moving Forward to New Exhibition Strategies
18.00: Evening Reception in the field of conservation teamwork
to Manage the Risk of Discolouration
Welcome: Drs. Marens Engelhard, director 16.30-17.00: Frank Ligterink and Birgit Reissland Lecturer: Agnes Brokerhof
Location: Amsterdam City Archives, (RCE, Amsterdam): The fading of fear— Location: RCE
Vijzelstraat 32 Changing the language of conservation science
Time: 10.00-12.00 and 14:00-16:00
17.00-17.30: Final remarks
The Paper History Collection
Lecturer: Henk Porck
Location: Koninklijke Bibliotheek, The Hague
Time: 15.15-16.45
Discover Amsterdam—The Guided Book
and Paper Tour
Location: KNAW, Kloveniersburgwal 26
Time: 10.00-12.00
Salvador Muñoz-Viñas
These are my principles:
Reversibility and minimal intervention in
paper conservation
At some unknown moment in history, only a few generations In conservation, the principles of reversibility and minimal
after Adam and Eve were created, one of Adam's early intervention are deontological in nature, as are the urge to
descendants called Moses successfully implemented the first respect the authenticity of the object or to exhaustively
consequential set of ten deontological principles: clear-cut document the treatment process. The ethical framework of
etical rules that are to be followed in every case. many conservators relies on principles like these, which thus
Later on, British philosopher John Stuart Mill wrote a book acquire a paramount relevance in the conservation world.
on ethics titled Utilitarianism. In this work, Mill suggested that On the other hand, utilitarian or relativist ethics have also
the ethical validity of an action should not be judged by its been suggested as valid guidelines in the conservation decision-
agreement with a given set of rules, but rather by its short- and making process. In this talk, the validity of these principles and
long-term consequences. In doing so, he paved the way for a approaches will be examined, assessing its relevance to actual
sort of moral relativism that had little to do with age-old practice in paper conservation.
deontological ethics.
Deontological principles have the important advantage that > Departamento de Conservación y Restauración de Bienes Culturales
they require little or no reflection on the side of the individual Universidad Politecnica de Valencia
applying them: perhaps for this reason they have been, and still Valencia, Spain
are, very popular. +34.9 6387 7310, smunoz@crbc.upv.es
Looking back Moving forward (sort of)
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 1
Johanna Fries Markiewicz
The object interlinked:
Conservation decisions at the National Library
of Sweden
Conservation as a discipline has its roots in both the natural and This leads to different - and sometimes conflict ing - interests in
social sciences but there has been a tendency to focus on relation to the objects, such as the perspect ive of the
technical matters rather than cultural values. Despite this, the conservator in comparison with the special collections librarian,
practice of the conservator in an inst itution, within a cultural the reading room staff or the researcher.
heritage context, is interlinked with the organisat ion, with laws By drawing on pract ical examples, the talk will focus on this
and regulations and with other professionals. complex network showing how the best conservation
Decisions made by conservators are contextually complex, intentions can fail if the conservator is working in isolation from
extending beyond the object into tradit ion, resources, skills other activit ies in the library, and also how earlier decision
and expectat ions of the future. The conservator is not a neutral made by librarians have to be incorporated in the conservation
agent able to take measures that do not change the inherited process. Although sound in a conservation perspective, a
meaning in the treated object. Instead, the conservator is an dismounting of different types of material, a distributed
active agent, making choices that affect other levels of the storage solution of photographs or a rebinding of a manuscript,
organisation. This presentat ion aims to discuss the object and can counteract other interests. A scholar might have her focus
its conservation as part of an inst itut ion. on the completeness of a heterogeneous collection while the
The National Library of Sweden, Kunglia Biblioteket, has special collection librarian has her focus on categories of order
been a legal depository library since 1661. Its collections to facilitate access.
encompass all documents printed and published in Sweden as To find solutions that can incorporate all these different
well as large collections of early prints, maps, photographs, perspectives is a great challenge but also an essential factor for
manuscripts, audio visual media and other special collect ions. conservation decisions to be successful.
The collect ions are an essential part of the Swedish cultural
> National Library of Sweden, Department of Collection Care
heritage, meant to be preserved for future generat ions but also
Stockholm, Sweden
for the use of staff and scholars on a daily basis. +46.1 0709 3330, Johanna.fries@kb.s
A shelf with documents stored in an old type of folders in the National Library Collection of Incunabula stored in new clamshell-boxes, made visible by
of Sweden showing a photo of the spine on the box
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 3
Elmer Eusman
Unintended Consequences
in Conservation
The speaker looks back on almost 30 years of studying and While certain risks associated with this process were
working in the conservation field and presents a number of understood and expected, others were not and should perhaps
cases that provided great anxiety at the time or give pause have been anticipated.
upon reflection today. The cases range from unintended The speaker ends with an observation made by using
immediate physical damage and chemical modifications, to Russell-effect photography and wonders whether the wide-
unexpected long-term changes that have an impact on the use spread use of the mat window as storage container should
of collection items. receive closer scrutiny lest this technique unintentionally
He recounts his experience as a conservation student, creates an environment that will give rise to a higher oxidation
damaging a 16th century Albrecht Dürer print, through a rate within the confines of the window.
momentary lapse in attention. The second case recalls his And finally there’ll be a brief reflection on whether these
experience with light bleaching a 19th century drawing by examples serve as representative bumps in the conservation
Joseph Keppler, an action that created unanticipated chemical professionals’ career paths and whether these unintended
changes in the paper. The third topic delves into mechanical consequences are the collateral damage required for the
paper splitting and unexpected long-term effects of this advancement and success of the field.
technique on 19th century US newspapers.
> Library of Congress, Conservation Division
Washington, DC, USA
+2. 202. 707-5838, eeus@loc.gov
Looking back: “Oops - What the…? Moving forward: “Second Thoughts - Further Review
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 5
Claudia Colini
When Conservation forgets
Codicology
Learning from the past means learning from mistakes: It’s obviously that every treatment has a cost, since is
sometimes it's our fault, sometimes we just experience impossible to operate without losing something, but we have to
mistakes made by others. reduce such losses at minimum.
The examples presented are mostly from the Oriental In the end, what is the aim of conservation? Are we just
Collection of the Biblioteca Nazionale dei Lincei e Corsiniana, in filling holes without knowing why?
Rome. These Arabic books - from different countries and Conservators have a preferential point of view that is
centuries – share one common trait: they have been repaired precluded even to the best scholars: we can see what is hidden
following a philosophy that produces a functional and under the surface, understanding the meaning of a knot or a
aesthetically pleasing result ignoring or sacrificing most hole. Shouldn’t we feel an obligation to produce a testimony
elements that a modern conservator should value, such as and a study of the ancient structures, materials and techniques
saving the decorated parts of the original cover while along with the duty of lengthening the life of the items?
discarding the rest of the structure.
Sometimes we can try to rescue some information – for
example from the holes in the folds of the quires we can infer
the kind of sewing applied – but the majority of them is lost
forever. And, what is worse, we lost the elements that will help > Centre for the Study of Manuscript Culture , University of Hamburg, Germany
us to understand the structures and techniques used. +39.34 8725 4887 , claudia.colini@libero.it
Looking back: A conservation project from the 70s: Biblioteca Moving forward: to preserve, conserve, restore, report, study and spread
dell'Accademia Nazionale dei Lincei e Corsiniana, Rome, Ms. 320 knowledge
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 7
Karin Scheper
A tight fit?
Changing opinion on Islamic bookbinding
structures
Both the bookbinding tradit ion from the Islamic world and available literature suggesting the manuscript’s weaknesses
Europe can be linked to the earlier development of the Copt ic and proposing the change in structure. However, while working
codex in the Middle East. However, the Islamic book structure on the manuscripts it seemed that such major interferences
can be easily distinguished from that of Western books. It were not at all required. Quite the opposite, the Islamic
seems fair to state that the creat ion of Islamic books shows manuscript structure is quite sufficient in itself, and to adapt
little change with regard to technical aspects of the book, while the structure is to introduce new risks to the materials.
the Western tradit ion can be typified by major changes in the Moreover, it forever obstructs a thorough study of the
construction of the book, resulting in a large variety of materiality.
structures, materials and forms. This presentation explains how ‘Western techniques’ are
The characteristics of the predominant Islamic book are a inappropriate in the conservat ion of Islamic binding structures,
flat and tight spine; the textblock is sewn using a link-stitch and why it is necessary to understand the specific
structure, and the boards are flush with the textblock. Many characterist ics of the Islamic bookbinding tradition when
Islamic bindings were made with a protective envelope-shaped decisions concerning the conservation of these objects have to
flap attached to the back board. As the sewing does not involve be taken. This shift in opinion is based on more or less ten years
the use of sewing supports, the board attachment was made of practical experience with the conservat ion of the UBL
using the spine-lining, the covering material, and in some cases Oriental collections, and the study I subsequently undertook in
addit ional inner joints. Naturally, the joints are vulnerable to order to improve my understanding of the Islamic manuscript
wear and tear. structures; this study will result in a Ph.D. thesis on the
Although this predominant structure seems technique of Islamic bookbinding.
straightforward, it appears (from relevant literature) that the But the addit ional lesson learned is that: to be aware of our
composition is easily misinterpreted and its functionality sometimes misleading percept ion and not to rely too heavily
misunderstood. Consequently, the link-st itch sewing on two on our inclination to follow leading opinions. This is essent ial to
stat ions only is disqualified and the tight back and board conservation practit ioners. In the field of codicology or book
attachment are thought to be inadequate. As a result, archaeology, it appears there still is a need for book
interventive treatment frequently involved the alterat ion – conservators to add to the framework of knowledge.
meant as ‘improvement’ – of the structure, such as the
introduction of the hollow spine.
When I first started treating Islamic manuscripts, in the > University Library, Leiden, The Netherlands
Leiden University Library (UBL) Collections, I relied on the +31.71.527 2859, c.h.scheper@library.leidenuniv.nl
2001 after treatment: the structure was changed into a hollow spine 2011 after treatment: the manuscript’s structure remains unchanged (Or. 179)
(Or. 8907)
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 9
Elizabet Nijhoff Asser *1, G. Brands2 & M. Posthuma de Boer3
Gilt leather in distress:
Tensioning systems of gilt-leather wall hangings
Gilt leather wall hangings have a long tradit ion in the a more durable, flexible construction made from wood and
Netherlands, dating back to the 16th century. Their popularity aluminium for the wall hangings.
reached its peak in the 17th and 18th century and they adorned The ability to remove the wall hangings in case of a disaster
many of the wealthy merchants’ houses of the Dutch Republic. is incorporated, as well as ideas for the insulation of the leather
After 1750, painted and printed paper- and text iles wall to thermal changes. Physical propert ies of the leather treated
coverings gained ground and the industry of gilt leather in the seventies with a backing of a polyester fabric are
manufacture dwindled. A small revival took place in the compared with less invasively treated leather. The attent ion has
manufacture of gilt leathers at the end of the 19th century. shifted from the leather side to the painted side of the wall
Renewed interest in the nineteen seventies led to an surge hangings and from the acclimatisat ion of the room to the
in restoration of the wall hangings. In twenty years time about acclimatisat ion of the hanging itself.
fifteen gilt leather wall hangings were restored at the The ultimate solut ion is still to be found, but more
government’s expense, mostly executed by the same firm. awareness and sharing of ideas resulted in opt ing for a
The firm made use of an elast ic textile material (Lycra®) to European Joint Program Init iative, where scient ists, art-
stretch the leather and fix it to the wall. After about thirty years historians and conservator-restorers from five different
of service the elast icity of the material has deteriorated and the countries will join forces.
leather has started to sag and deform.
This presentation is about the lessons learnt from the >1 University of Amsterdam, The Netherlands
failures and successes of the previous tensioning system as +31.20. 627 5907, E.Nijhoffasser@uva.nl
seen in three case studies; two of which were extensively >2. Overveen, godfried@planet.nl
restored in the sevent ies. And is also about the development of >3. Amsterdam, m.posthumadeboer@uva.nl
Looking back: Sagging gilt leather with deteriorated Lycra® hanging New wooden panelling behind the gilt leather with flexible tensioning system.
loose behind it. Pieterskerk, Leiden (RNA-restauratie) Six Collection, Amsterdam (RNA-restauratie)
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 11
Nadine Thiel1 & Jule Janssen2
Reviewing the 'Utrecht Hanging System'
mounting for parchment charters
The Cologne City Archives is one of the largest communal concrete dust, some other forms of damage is discernible on
archives north of the Alps. More than 60.000 mediaeval and the wax seals and parchment. This has been mainly caused by
early modern parchment and paper charters are part of its the sharp‐edge plastic rounds placed around the seals and by
collection. Most charters have been flattened and were the tapes used. Considering this, the charters have to be quickly
mounted in the so‐called 'Utrecht Hanging System' in the removed from their current housing and treated.
1970’s. The goal of the project is to remove the old mounting and
Every charter was individually placed in a polyester sleeve to clean, stabilize, re‐mount and store as many of the 60.000
and clamped in place using a plastic strip fixed with screws. charters as possible before finishing the reconstruction of the
Seals were secured with plastic rounds attached to the sleeve Cologne City Archives building.
either with a self‐adhesive strip or a welded seam. They were To achieve this goal, a treatment process was developed
stored side by side in steel hanging cabinets. The primary allowing surface dry‐cleaning and mounting of about 600
advantage lay in easier access: the charters were secured by the charters a month. An appropriate mounting and storage
polyester sleeve and could be seen from both sides. Another solution was chosen after an intensive research phase and
advantage was the reduction of required storage space. exchanges with other conservators. The solution fits the needs
The mounting in the 'Utrecht Hanging System' was meant of the Cologne City Archives in terms of feasibility, long term
to be an improvement. Actually, the charters faced rougher preservation, digitization, costs, handling, etc.
handling than before. In order to find the required charter they The experience of the Cologne City Archives with this
were moved around the cabinets like clothes on hangers with project can be easily taken as an example and adapted to
the fragile wax seals bumping into each other. In addition, the similar situations. Since spring 2012 around 20.000 charters
polyester sleeves provided a false sense of security: damage have already been surface dry cleaned.
was easily caused by waving the polyester sleeves around to see
the back. 1,2
> Cologne City Archives, Cologne, Germany
+49.221.2212 9356, nadine.thiel@stadt‐koeln.de
After the collapse of the Cologne City Archives in 2009, the
jule.janssen@stadt‐koeln.de
small and medium‐sized charters, only lightly damaged, were
temporary placed horizontally in cardboard boxes. Apart from
Previous mounting : the 'Utrecht Hanging System': charter hanging between Current mounting system: Charter horizontally mounted on corrugated
polyester film boards
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 13
István Kecskeméti
Crepeline lining:
A harmful conservation method from 1970´s
During 1970´s a lining method was used for molded, water- or We consider digitization as one of the strongest preservation
fire damaged documents in the Finnish National Archives: the methods since it necessarily involves conservation treatment,
so called 'silking'. Crepeline, a losely woven silk fabric, was rehousing and limitation of handling of the original, while
applied as backing support for damaged objects with allowing for maximal access to the digital substitute.
formaldehyde hardened commercial 'Hernia' starch paste. However, volumes exceeding a thickness of 12 cm need to
In 2008-2009, a condition survey of collections of the be unbound for digitization, as our scanner does not allow
National Archives revealed, that many of the crepeline fabric thicker bindings. We decided to start with the thick non-
had started to yellow and deteriorate. It was regarded a serious digitised crepeline-lined taxation volumes from 1630-1809. Due
risk for the preservation of these collections. In 2012, when the to their crepeline lining they are in need of conservation and
treatment process was under planning, our conservators also for this reason require unbinding. Also, the linings need to
noticed that the crepelin fabric has become very fragile and be removed before digitisation to improve the readability of
does not support the damaged paper physically any more. text. After digitisation the sheets will not be rebound, but will
As many of the crepeline treated volumes belong to the be stored horizontally in boxes. Full access is guaranteed
eldest and most valuable parts of our collections (11.000 through the use of digital substitutes.
volumes of taxation documents from 1530-1630 and 1630- Several treatments have been carried out on the collection
1809), a method of removing the old harmful treatment was of taxation documents during previous centuries. The covers of
needed. Also these documents are to be digitized. earlier taxation documents 1530-1630 were removed as they
Some lined pages without text were still existing and used contained medieval catholic manuscripts, which were donated
for testing. As the Hernia starch paste contains formaldehyde to the National Library of Finland. The books have been
it's water solubility decreased seriously over time. While it was unbound for microfilming and conservation treatments during
still possible to remove the fabric in a water bath, the sticky 1960-70´s and again in the 2010´s. The value of these archival
starch paste remained. An amylase treatment proved to be bindings is low and it is actually the sheets with information
effective and fast for removing the paste. First treatments of that are to be preserved. The crepeline lining was done with the
long rolled documents belonging to our Sami-collection best knowledge of that time, and we only can hope that
(suggested this year as a Unesco World Heritage) and molded solutions made today will survive in time.
taxation documents proved to be successful. In this case, the preservation of valuable taxation books is a
co-operation of conservation and digitization.
> 1* National Archives, Collections Management Division, Helsinki, Finland
+35.8.50 567 5887, istvan.kecskemeti@narc.fi
Looking back: Crepeline lined manuscript Moving forward: Two sheets after treatments ready for digitization
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 15Clara de la Pena Mc Tigue
Van de Velde Drawings:
A History of Interventions
In the 17th century the Willem Van de Veldes, father and son, Examining and fully understanding the history of these
worked together as marine draftsmen for the Dutch drawings, as well as evaluating the success or damage of
government and the English Court, leaving one of the largest decades of conservation treatments and trends, has largely
legacies of drawings from the Dutch Golden Age. They would influenced the way conservators at the Nat ional Maritime
go out to sea and draw the progress of live battles, produce Museum have approached conservation and preservat ion
drafts for paint ings, and even create seascapes and boats from decisions today.
imagination. The current project focused mainly on improving mount ing
The National Maritime Museum holds the largest and rehousing methods used in the past decades, preserving as
collection of drawings by the art ists (over 1400) and in 2011 was a priority the relevant layers of history and additions in the
awarded a grant by the Esmée Fairbairn Foundation to research drawings, and preparing them adequately for future display.
and treat this valuable collect ion. These complex works of art The conclusions of this project are largely based on an in-depth
combine papers and materials used by the art ists with later conservation survey, visual and scientific analysis and
backings, repairs and additions. The van de Veldes themselves photography through collaborat ion with UK major institut ions
corrected their own drawings during their working process by and comparat ive research of collections with significant
adding and cutting over earlier designs. Soon after, 18th holdings in the UK and the Netherlands. Furthermore, findings
century individuals adjusted or reworked the position of ships were disseminated through a one day Seminar and a
in battle scenes, and some paper infills can possibly be traced conservation display in the Queen’s House.
two centuries back. In a wider context, with cultural institutions in Europe
It is however conservators in the 20th century which might facing financial constraints, the van de Velde project is an
have left a deeper mark in these artworks. Under the example of how external fundraising can become a feasible
assumpt ion of stabilising the drawings, many layers of material alternative to address long term collections care. Furthermore,
history, such as original or 19th century collectors’ backings or integrated museum databases and collaborative projects
historic repairs have been subsequently removed. Amongst between institut ions in the future will surely provide exciting
other examples, overall conservation treatments have in time opportunities to further share and explore the van de Veldes’
had an adverse impact on the integrity of supports or inherently graphic legacy.
degrading iron-gall inks.
> Royal Museums Greenwich / National Maritime Museum, UK
+44 (0) 208 312 6626, CMcTigue@rmg.co.uk
Willem van de Velde the Elder, 1673, The battle of the Texel. Detail showing the Willem van de Velde the Younger, about 1665, Portrait of a Dutch frigate.
complexity of original repairs and later additions. (PAJ2533) Damage (distortions, gloss) caused by the artists’ transfer technique (PAG6205)
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 17Oulfa Belhadj*1, E. Jacobi2, C. Phan Tan Luu2, S. Meslet-Struyve3
S. Vez4, B. Reissland5, V. Rouchon1
Assessing the risk of iron migration:
Feedback on a new colourimetric test
The conservat ion of papers containing iron gall inks raises This presentation gives feedback on the use of the test for
specific difficulties, even when the latter are in good condition. other types of aqueous treatments. Several treatments were
Iron gall inks are sensit ive to water and when an inappropriate performed using the Bathophenan-throline impregnated paper.
conservation treatment is applied, some brown halo may The results were evaluated and compared with the
appear around the ink line. These halos are usually subtle but examination of original manuscripts also subjected to the same
they are always accompanied by a migration of iron which is treatments.
detrimental to the paper's condition. Documents in good This approach allowed us to identify humidity levels that
condition may therefore be damaged by an inappropriate can safely be used on originals. It also showed that this test is
aqueous treatment. not appropriate for all types of aqueous treatments. In
As solubility tests performed by paper conservators are not particular, it leads to some misinterpretation when evaluating
very reliable, an alternative tool was proposed by Jacobi and immersion treatments.
her Dutch colleagues in 2011. This tool aims to opt imize the
procedure of mending tears in inked areas by testing the act of
mending itself. The mending procedure is applied on a paper
impregnated with Bathophenathroline, an indicator for iron(II)
ions, and stamped with an iron gall ink.
> 1* CRCC, Paris, France
Migrations of iron out of the ink line are visually assessed +33.1.40795303, belhadj@mnhn.fr, rouchon@mnhn.fr
with the occurrence of pink halos. As this test is part icularly > 2 Practice in Conservation, Amsterdam, NL
sensitive, a mending treatment that induces no substantial > 3 Arthaz, France
pink halo can be implemented with confidence on originals. > 4 Paris, France
5
> RCE, Amsterdam, The Netherlands
Looking back: Migration of soluble components due to excess of water during Moving forward: The Dutch Fe-Migration Mending Test - developed to control
mending (manuscript of Amsterdam City Archives) the amount of water during mending
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 19Penelope Banou*1, Athena Alexopoulou2 & Brian W. Singer3
Oil paintings on paper supports:
Considerations on treatments applied from
the past until the present
Several types of works using oil media on paper supports, such condition of the paint ing layers and the preparat ion layers, if
as paint ings, sketches, studies, etc., are included in museum present. At the same t ime, treatments aiming to enhance the
collections worldwide. These works present evidence of chemical or mechanical stability of the support could have a
damage that has been associated with the presence of the oil detrimental effect on the consistency of the paint layers. Thus,
medium in the paint and its effect on the paper support. In the any conservation approach raises a lot of issues.
past, such works have usually been treated in the same way as The applicability of the methodologies and materials used
oil paint ings on canvas, mainly by painting conservators. both in paper and paint ing conservat ion for the treatment of
During the last few decades, with the development of the this type of work are debatable. Although materials and
specialisations in the conservat ion profession, the treatment of techniques typically used in paper conservation could not
this type of work became a grey area between paper and provide adequate treatment results in some cases, there is no
painting conservators. Nevertheless, the conservat ion of oil authoritative publicat ion on the effects of the materials
paintings on paper supports proves to be a really complex broadly used in the conservation of oil paintings on canvas to
matter. A combination of paper and painting conservat ion the cellulosic support.
disciplines is regarded as essential for their treatment, since In this presentation, historic materials and interventions
the layers overlaying the paper support correspond to those of still used for the treatment of oil paintings on paper are
oil painting on canvas present similar problems and require recorded and evaluated to provide a basis for the development
analogous interventions. of a recommended conservat ion approach for this type of work
However, the fact that the ground layer is often omitted in the future.
results in a dynamic interact ion between the painting layer and
the support. The absence of the ground layer increases the > 1* General State Archives of Greece, Department of Conservation
absorpt ion of the materials applied, especially oil, into the Athens, Greece
paper support, causing optical, chemical and mechanical +30.69 7721 8522 (mob), pbanou@yahoo.gr
alterations. The paper support may also react to conservat ion > 2 Technological Educational Institute of Athens, Athens, Greece
> 3 Analysis for Conservation, Northumberland, UK
treatments aimed at having a direct stabilising effect on the
What kind of treatment approach should be considered? Oil paintings on paper - A collage of damage
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 21Alexandra Nederlof *1, Elizabet Nijhoff Asser 2
Lessons learnt from a 1980 restoration
of a 19th century papier-mâché anatomical model
of a life-size horse by Dr. Auzoux
Auzoux’s firm, operating in France from 1825-1980, was famous On the other hand the horse might have been lost without the
for the production of papier-maché anatomical, zoological, extensive restorat ion and the finishing coat ing of PVAc helped
physiological and botanical models. The different layers that in preserving the horse. The retouches seem shiny and new as if
cover the papier-maché core form the beautiful illusion of skin, they were done yesterday instead of thirty years ago. Also it’s a
subcutaneous tissue, muscles, and other anatomical details. perfect example why documentation of conservation
They are produced with pigmented fish glue, applied in a treatments is so important.
refined and delicate way.
There are two options for the future of the horse. The first
Auzoux made his first horse in 1844. The University of option is that the horse will be exhibited in a glass case in the
Wageningen (the Netherlands) bought a model of a large horse main hall of the University with the climate difficulties that
in 1879. After years of neglect the horse was thoroughly come with it. The second opt ion is the horse will be placed in
repaired and retouched in 1980-1982 and is still used in the the University Library's storage facility and once a year, based
training program of veterinarian anatomy. No written on a pictorial and written manual, it will be carefully
documentation of the restoration was found. In 2012 disassembled during an anatomical lecture. Awareness of the
conservation scientists from the Cultural Heritage Agency of pedagogical value of the horse is important in this decision.
the Netherlands and the authors, a paper conservator in The coating of PVAc has pract ically plasticized the horse so
training and a paper conservator, worked together to using it only once a year wouldn’t damage the horse and will
understand the strat ification of the layers and to define the increase the appreciat ion and the awareness of the value of the
difference between the original and restoration layers. The horse. In this situation it is the conservator-restorer's plea to
authors also worked to retrace the treatments that had been continue the original use of the horse in the lecture hall, instead
carried out during the restorat ion in 1980. of the tradit ional approach of exhibiting it in a glass case.
This case study shows a brilliant example of the Zeitgeist of
the 1980s in conservation and why the materials used weren’t > 1* Nederlof Papierrestauratie, Bergen, The Netherlands
the best choice. +31.6.5322 1514 info@nederlofpapierrestauratie.nl
>2 Amsterdam, E.asser@restauratie-na.nl
The treatments have both undesired and desired outcomes.
The treatments aren’t reversible so they can’t be removed if
necessary.
The restored horse and its team of the 1980ties (unknown) The horse in the depot of the University library of Wageningen (RNA-
restauratie)
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 23John Slavin
Paul Klee:
A case study in how localized treatment can
affect the dimensional stability of paper
The localized treatment of discolouration on a very degraded during treatment. In the case of the Klee drawing, these
charcoal drawing by Paul Klee led to sheet undulations that changes were difficult to stabilize due to a number of features
were difficult to address. The cleaning of mat burn of the sheet: non-uniform deterioration, localized tissue repair
discolouration and the eliminat ion of sheet distortions are the and reinforcement, previous conservation interventions, and
two areas of treatment invest igated. loss of fibre integration in the sheet matrix.
An outline of the treatment will be supplemented with Like any other profession, paper conservators must always
comparable treatment scenarios and background research to be mindful of the resources we have at our disposal for
provide a comprehensive picture of the rat ionale behind the assist ing with treatment scenarios that might be beyond our
treatment decisions made. Underpinning this case study is the expertise. Consultation with peers is one of those options
awareness that complex or difficult treatment protocols should available which, in this case, led to a satisfactory resolution to a
not be improvised as you go, step by step, without anticipat ing difficult treatment.
all potential consequences. Problems could result which may A more holistic approach in planning selective aqueous
not be manageable and could place the integrity of the object cleaning treatments is proposed that includes a risk profile of
at risk. paper characteristics that elevate the potential for alterat ion of
A treatment protocol for select ive cleaning of surface texture and dimensional alterations. Once all possible
discolouration was employed consistently on numerous works outcomes are evaluated, individual treatment operations can
of art on paper in the past as shown in examples of paint ings be modified or eliminated, and expectat ions can be monitored
by David Milne, drawings by John Ruskin and a print by Alberto during treatment so the best outcome can be attained with the
Giacometti. The reduction/removal of discreet areas of least risk. A recent treatment of a Josef Beuys pencil drawing
discolouration and staining is done locally so that sensit ive illustrates how this paper description profile moderated
media and paper characterist ics are not adversely affected. localized aqueous cleaning decisions.
However, small area cleaning procedures using water and
bleaches on a suction table can lead to deformations that can
be easy to remove or very problematic. A double-sided
gouache painting by Milne and a drawing on coloured paper by >.. Paper Conservation Ltd., Mississauga ,Canada
Ruskin illustrate some typical dimensional changes that occur +1.905 566 9033, jrslavin@sympatico.ca
Paul Klee Untitled, 1907. Charcoal drawing on laid paper / before treatment Joseph Beuys aus 'Intelligenz der Schwäne. 1951-59' Pencil drawing on machine
(private collection) made sketchbook paper (private collection)
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 25Marion Verborg
Roy Lichtenstein’s Screenprint on
Plastic 'Sandwich and Soda' 1964:
Removal of Tapes from the Ink Layer
This project focuses on the technical study and conservation blue, is made of polystyrenes; the carrier and adhesive
treatment of two impressions of Roy Lichtenstein’s blue and components of the Filmoplast®‐like tape was identified as
red ink screenprint on clear plastic, Sandwich and Soda, 1964, cellulosic material and the office tape as PVA.
owned by the Harvard Art Museums. Those prints are part of These results led us to a appropriate and successful
the portfolio X + X (Ten Works by Ten Painters), published by treatment method to remove the tapes safely and reduce the
The Wadsworth Athenaeum, Hartford, Connecticut. adhesive residues.
The prints were acquired by the Museums in the late 1960s, On one copy, it was possible to remove the Filmoplast‐like
in a condition with two different pressure‐sensitive tapes tape carrier by first applying warm water with a very small
directly attached to the printing inks, namely Magic tape® and brush; this softened the tape carrier, allowing it to be removed
Filmoplast®‐like tape. These tapes had served as hinging with tweezers without affecting the ink. Cellulose powder was
methods in the past. Subsequently, in 1990s, there had been an then scattered on top of the sticky residual adhesive, and the
attempt to remove these tapes using unknown solvents, resulting mixture could be pushed away with the silicone tip of
causing visible damages on the ink. These unfortunate mishaps a Colour Shaper modelling tool without scratching the surface
obviously stemmed from the lack of understanding of the or removing ink. The tip of the Colour Shaper modelling tool
chemical compositions of the printing inks and the plastic had been cut to obtain the most convenient shape to work on
support. In this context came the importance of scientific the adhesive residues removal. The same treatment (without
analysis that enabled us to understand the materials and the application of warm water to the tape carrier) was carried
condition of artworks better and helped us find safer treatment out on the acrylic‐based office tape on the other copy with
solutions. great success.
In this study, the plastic support, printing inks (red and blue) Based on this experience, the paper conservator's role as an
and pressure‐sensitive tapes (carrier and adhesive) were educator has to be reinforced. While working with private
analyzed using GC‐MS, FTIR, Raman Spectrometry and LDI‐MS clients, framers, art handlers, museum’s staff, it is important to
(Laser Desorption Ionization Mass Spectrometry). The plastic remind basic behaviour and what are the museum’s quality
support was identified as polystyrene; the blue pigment is PB15 materials we want to see used on artworks. Furthermore,
(phthalocyanine blue), the red ink sample contains chrome red, collegiality was of importance for this project, combining skills
PR63, and barium sulfate; the binder of the inks, both red and from scientists, curators and conservators from varied fields.
> Cologne City Archive, Germany
+49.221.221 34837
marion.verborg@stadt‐koeln.de; marion.verborg@gmail.com
Filmoplast®‐like tape on the back of the print, on the ink layer (detail) Print “Sandwich and Soda”, 1964, R. Lichtenstein, after the removal of the tape
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 27Laurence Caylux1, Eve Menei2
'Something is rotten in the state'
... of Inlays: Evaluating mounting systems
for art on paper in the Louvre Museum
In the collection of the Department of Prints and Drawings of used and a technique for fixing the drawing has been developed
the Louvre Museum, works of art on paper are traditionally in order to avoid excess thickness on the edges and allow
stored in a way offering easy access to their recto and their reversibility.
verso as well, in order to allow the study of drawings and 2009-2013: Recurring problems of cockling are encountered
inscriptions, if any. while overviewing the inlays created over the last twenty years.
1968: Since 1968, when the Reading Room opened, The shade of the inlays does not always match the colour of the
inserting the drawings inside a sheet of paper (inlay) has been works of art. In 2009, the Department of Prints and Drawings of
considered to be the best suitable solution to protect the edges the Louvre Museum has intended to launch a research: is the
of the artifacts and permit their handling without risk. insertion of drawings in inlays to be reconsidered?
At that time, most drawings were mounted on inlays. The This method has insufficiencies but also advantages and is
process consisted in attaching the edges of the drawing with well adapted for the purpose of the collection. The working
thick paste to a window made of laid paper cut at right angles. group is currently considering the use of various Western,
This solution was satisfactory from a mechanical point of view Japanese and Korean papers which are under evaluation.
but the rigid laid paper has yellowed significantly and suffered Several methods for fixing are also being implemented. The
distortion. The thickness of the paste and of the paper without purpose is to be able to use a wide range of possibilities
beveled edges has contributed to some bulging visible on the adapted to the various kinds of drawings of the collection.
recto, on the edges of the drawing. Moreover the paste used
has turned hardly reversible. > 1* Paris, France
1990: Since the nineties, new methods have been worked +33.6 8411 8766, laurence.caylux@free.fr
out to limit these disadvantages while maintaining the inlay as > 2 Paris, France
+33.6 8142 6178, evemenei@free.fr
a standard: various western and Japanese papers have been
Looking back : drawing by B. Luini (RF 478 ) inserted in an inlay made of laid Moving forward : experimenting with new papers for inlays: various types of
paper in the 70s. The sheet is cockling and imprints a mark along the edges of Western, Korean and Japanese papers currently under evaluation
the drawing
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 29Lydia-Chara Pavlopoulou*1
'Les Fleurs du Mal'
In the Field of conservation team work
Conservation work is often carried out by a team of Cooperat ive learning and sharing of knowledge work towards
conservation professionals who are required to collaborate in group publicat ions and problem solving discussions. This
order to complete a certain conservat ion project. These allows for assessment meet ings where members of the team
individuals often have different degrees of knowledge, reflect on team work skills and deal with arising conflicts. The
experience and dexterity, varying personal backgrounds, and offering of constructive criticism and peer motivation together
different personalit ies, ideologies, and ethics. This can be with casual social gatherings away from the work environment
fruitful and creative. can strengthen group identity, promote creat ive collaborat ion,
positive interdependence, personal communicat ion and
Yet in circumstances where individuals exhibit undeveloped
emotional intelligence (E.I.), unconscious psychological bonding.
behaviours can compromise how the team works due to Here the interest lies beyond the mere management of
negat ive interdependence. Relationships suffer and the group dynamics. Interpersonal relationship disruption
conservation project is transformed into a power struggle . This, mechanisms are ident ified and the importance of E.I. in
unless addressed, can lead to team disruption, incorrect teamwork alongside knowledge and pract ical skills is
decision making and mistakes during the actual conservat ion emphasized.
treatment
1*
> Bank of Greece, Athens, Greece
These can be overcome by effect ive leadership and the +30.21 0762 8815 , + 30.69.3725 2806 (mob), lcpavopoulou@gmail.com
growth of E.I.: a proact ive leader sets clear goals for each team
member and establishes a common vision for all; gives
guidance and posit ive feedback; acknowledges talents and
achievements; and promotes a synergistic environment where
team members contribute.
Fig 1 Looking back Fig 2 Moving forward
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 31Frank Ligterink*1 & Birgit Reissland1
The fading of fear ?
Transforming the language of conservation
science
Acidification, auto‐catalytic, bleeding, blooming, brittleness, Moreover, we begin to learn how large‐scale conservation
cockling, corrosion, damage, decay, discoloration, de‐ measures impact not only collections but affect people and
polymerisation, embrittlement, fading, foxing, fungi, fracture, organizations around them. In a time of constrained budgets,
harmful, loss, oxidation, pollution, scratching, serious, staining, the allocation of resources to specific conservation measures
urgent, yellowing ‐ Adhesive, alkaline, analysis, cleaning, will impact other relevant collection functions.
digitization, encapsulation, filtration, guidelines, preserving, Being part of a conservation professionals community in a
protection, repair, safe, stabilization, standards, treatment. fast changing world of paper heritage, we believe re‐thinking
This is the prevailing language of conservation science talking the role of conservation absolutely necessary. Instead of
about risks and their solutions. perpetuating scenarios of decay, we should learn to identify
These words convey an ultimately powerful message of and manage real risks to heritage and acquire the skills to
decay and how to fight it in a language that everybody influence decision‐making on a management level as
understands. And conservation science has been successful by consultants.
speaking it. Looking back at the success stories of conservation Equally, we should capitalize our unique knowledge of
of the last decades, a general pattern emerges. After materials and making, being 'explicateurs' of our increasingly
prophesying doom, conservation professionals come to rescue. silent collections. Clarifying subtle traces, while giving guidance
Given examples or hints of a specific damage, scientists are how to preserve them with care. Generally to take the role of
stimulated to investigate and consequently emphasize worst scholars and convey to the world a multitude of values intrinsic
case scenarios and their solutions. to our physical heritage collections.
Acid paper, ink corrosion, air pollution... Policy makers tend
to hear and reward researchers with most dramatic findings.
We believe this is the language we need to learn.
This is the auto‐catalytic power of fear.
But with time our fears are fading. The limited repertoire of 1
> Rijksdienst voor het Cultureel Erfgoed, Amsterdam, The Netherlands
grand decay problems is getting exhausted, while implied +31.33.421 7179, F.Ligterink@cultureelerfgoed.nl
catastrophes of decay prove less dramatic then predicted. +31.33.421 7180, B.Reissland@cultureelerfgoed.nl
Prophecy of decay: This image of Peter Waters (chief of rest. departm. of the Moving forward: Conservators in search of traces that enable us to reveal and
Library of Congress) crumbling a book has been an icon of paper conservation communicate the tangible biography of an artefact
14-16 May 2014 - IADA International Symposium Amsterdam - Looking back, Moving forward 33I A D A I N T E R N AT I O N A L S Y M P O S I U M 2 0 1 4
‘IF ONLY I HAD KNOWN – Amsterdam,
LOOKING BACK, MOVING FORWARD’ 14-16 May 2014
Interactive Workshops and damage relationships to develop back and explain what went wrong
a light plan for exhibition? Is LED but we will also look forward and tell
On Friday, 16 May 2014, leading Dutch lighting safe? Also for chrome yellow? you about our new project.
conservation studios in Amsterdam In this workshop we will discuss Lecturer: Cristina Duran, Jochem Kamps,
and The Hague invite you to visit and the latest knowledge and develop- Femke Dijkhuis, and Janien Kemp
share your thoughts and experiences ments in exhibition lighting and prac- Location: City Archives Amsterdam, Vij-
zelstraat 32
about specific topics. Those topics are tice defining lighting specifications. Time: 10:00-12:00 and 14:00-16:00
based on real cases with a challeng- Lecturer: Agnes Brokerhof, Senior Participants: 15-20
ing conservation history, which re- Conservation Scientist
quire defining or reconsidering stra- Location: RCE, Hobbemastraat 22 Amsterdam: Rijksmuseum
Time: 10:00-12:00 and 14:00-16:00
tegic decision making. The following Participants: max. 16 100 Years of Mounting: Traditions
workshops are organised by: and Recent Developments in the
Amsterdam: City Archives Mounting of Works of Art on Paper
Amsterdam: Cultural Heritage and Photographs in the Rijksmuseum
Burnt but not Lost—Manuscripts
Agency of the Netherlands (RCE)
Preserved at the City Archives of
Light, Lux, Luxhours, LED and Amsterdam
Low Level Risk—Moving Forward
to New Exhibition Strategies to
Manage the Risk of Discolouration
Example of mounted prints in the print
room of the Rijksmuseum in Amsterdam.
© Idelette van Leeuwen.
Fire in the Town Hall. Preparatory drawing
for the print. S. Fokke, 13.10.1762.
The print room of the Rijksmuseum
© Stadsarchief Amsterdam. houses more than 900,000 works of
art on paper and photographs. The
During the night of 12 to 13 October collection shows an overview of ap-
The magical figure of 50 lux was 1762, a big fire destroyed the Amster- proximately 100 years of develop-
once introduced as the lowest level dam Town Hall (now Royal Palace) ment and fashions in the mounting
at which we can still distinguish col- Stored archives at the city hall were of the works. In the workshop exam-
ours, hence the least risky light in- seriously affected by the flames. Now- ples from the collection will be shown
tensity for vulnerable documents and adays the City Archives of Amsterdam and the reasons behind the different
works of art. Yet for older eyes it is preserves thousands of damaged docu- approaches through the time are ex-
often not enough to properly see and ments from this fire. The majority plained by the present and former
appreciate the objects. At the same cannot be accessed by researchers staff of the paper conservation studio.
time 50 lux is not safe at all, if ex- because of the high risk that burnt Advantages and disadvantages
posure is long enough it causes dis- pieces of paper get lost even through of the different methods and recent
colourations just as much as any careful handling. choices made by the print room cura-
other intensity. Because it is the Over the centuries, several at- tors and conservators are discussed
energy dose, or the light dose in lux- tempts have been made to conserve with the participants. Finally, the con-
hours, that determines damage. the documents in order to make them servators of the Rijksmuseum will
Shall we let go of the established available to the public. On the basis demonstrate some of the methods
50 lux rule? How then do we design of original objects we provide an used for master drawings, traditional
acceptable exhibition lighting? How overview of different treatments. In and modern prints and photographs
do we use knowledge about light dose several case studies we are looking at the present time.
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