Model discoloured paper for analysis of aqueous washing and other conservation processes / Untersuchung und Bewertung wässriger Behandlungstechniken mittels gefärbter Modellpapiere / Analyse et évaluation de techniques de traitement aqueux grâce aux papiers modèles colorés
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Joanna Kosek
Joanna Kosek is a joint Head of Pictorial Art Conservation at the British Museum. Joanna trained as a paper conservator, specialising in art on paper, at Camberwell College of Art, London. She started her career in the British Museum in 1989 in the area of conservation of Western prints, drawings and watercolours.
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Stephen I’Anson
Stephen I’Anson was formerly a Lecturer in the School of Materials, University of Manchester. He has been involved with teaching and research in the area of papermaking since 1985. He is chairman of the Pulp and Paper Fundamental Research Society which organises the four-yearly Oxford and Cambridge Fundamental Research Symposia.
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Alec Tindal
Alec Tindal is Managing Director Makowhiteness Limited, a company specialising in dyeing and colour measurement in paper. He has a BSc in Colour Chemistry from University of Leeds and is an Associate of the Chartered Institute of Marketing, a Chartered Colourist and an Associate of the Society of Dyers and Colourists.
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Vincent Daniels
Vincent Daniels is Emeritus Researcher at the British Museum. In his long career he has produced many publications on the theory and practice of degradation, preservation and conservation of paper.
and
Mark Sandy
Mark Sandy is Postgraduate Subject Leader in Conservation at Camberwell College, University of the Arts London. He is also Assistant Director of the MATAR Research Centre
Abstract
We describe trial production and evaluation of model papers deliberately discoloured in a controlled and reproducible manner during manufacture using modern water-soluble synthetic and natural dyes. The intention was to produce papers in the quantities required to serve as material for research, familiarisation and training in conservation. In the initial evaluation it was possible to demonstrate disparate responses to water by thin, low-grammage, and thick, high-grammage papers and by hydrophilic and hydrophobic papers which in real objects present very different sets of risks and require different methods to mitigate the risks. The evaluation has shown potential of model papers with consistent structure, properties and staining in teaching and experimentation which exceeded the authors’ original expectations.
Zusammenfassung
Die kontrollierte und reproduzierbare Herstellung von kunstlich verfarbten Papieren und die Bewertung ihrer Einsatzmoglichkeiten fur Unterrichtszwecke werden beschrieben. Fur die Erzeugung der Verfarbungen wurden wasserlosliche, synthetische und naturliche Farbstoffe eingesetzt. Ausgangspunkt fur das Projekt war der Wunsch, ausreichende Mengen von Standardpapieren herzustellen, die fur Untersuchungen und fur Unterrichtszwecke zur Vermittlung von restauratorischen Eingriffen zur Reduzierung von Papierverfarbungen dienen sollten. In ersten Tests zeigte sich, dass diese Standardpapiere geeignet waren, deutlich unterschiedliches Verhalten gegenuber Behandlungsmasnahmen darzustellen, je nachdem, ob es sich um Papiere mit hohem oder niedrigem Flachengewicht handelte, beziehungsweise um solche, die saugfahig oder wasserabweisend waren. Die verschiedenen Papiertypen wurden gewahlt, weil sie in der restauratorischen Praxis gegenuber wasserigen Eingriffen unterschiedliche Empfindlichkeiten aufweisen und daher unterschiedliche Behandlungen erfordern, um so Risiken auszuschliesen oder zu minimieren. Die bisherigen Erfahrungen mit den beschriebenen Modellpapieren in der Vermittlung von restauratorischen Behandlungsmethoden haben die Erwartungen der Autoren bei weitem ubertroffen.
Résumé
Le present article decrit la fabrication controlee et reproductible de papiers colores artificiellement ainsi que l’evaluation des possibilites de leur utilisation dans le domaine de l’enseignement. Pour la production de decolorations des matieres colorantes solubles a l’eau, des matieres synthetiques ou naturelles ont ete utilisees. L’intention premiere etait de produire une quantite suffisante de papiers qui servirait de materiel pour la recherche, la familiarisation et le training dans le domaine de la restauration afin de reduire la decoloration du papier. Lors des premiers tests on a pu demontrer des reponses disparates de ces papiers standard a l’eau selon qu’il s’agissait d’un papier mince (a grammage bas) ou d’un papier epais (a fort grammage) et selon leur capacite hydrophile ou hydrophobique a absorber ou a resister a l’eau. Les differents types de papiers ont ete selectionnes parce que dans la pratique de la restauration contre les attaques de l’eau ils font preuve de reactions differentes et par consequent necessitent des traitements differents afin d’exclure certains risques ou du moins les reduire le plus possible. Les experiences realisees jusqu’a present avec les papiers modeles decrits ont surpasse de loin les esperances des auteurs dans le domaine relatif aux methodes de traitement dans la restauration.
About the authors
Joanna Kosek is a joint Head of Pictorial Art Conservation at the British Museum. Joanna trained as a paper conservator, specialising in art on paper, at Camberwell College of Art, London. She started her career in the British Museum in 1989 in the area of conservation of Western prints, drawings and watercolours.
Stephen I’Anson was formerly a Lecturer in the School of Materials, University of Manchester. He has been involved with teaching and research in the area of papermaking since 1985. He is chairman of the Pulp and Paper Fundamental Research Society which organises the four-yearly Oxford and Cambridge Fundamental Research Symposia.
Alec Tindal is Managing Director Makowhiteness Limited, a company specialising in dyeing and colour measurement in paper. He has a BSc in Colour Chemistry from University of Leeds and is an Associate of the Chartered Institute of Marketing, a Chartered Colourist and an Associate of the Society of Dyers and Colourists.
Vincent Daniels is Emeritus Researcher at the British Museum. In his long career he has produced many publications on the theory and practice of degradation, preservation and conservation of paper.
Mark Sandy is Postgraduate Subject Leader in Conservation at Camberwell College, University of the Arts London. He is also Assistant Director of the MATAR Research Centre
© 2014 by Walter de Gruyter GmbH & Co.
Articles in the same Issue
- Masthead
- Editorial
- 10.1515/res-2014-0002
- “I knew right from the start that the whole thing would be damned expensive” – Gustav Klimt’s Cartoons for the Stoclet Frieze: Their Creation, Execution, and Conservation, Part II
- Model discoloured paper for analysis of aqueous washing and other conservation processes / Untersuchung und Bewertung wässriger Behandlungstechniken mittels gefärbter Modellpapiere / Analyse et évaluation de techniques de traitement aqueux grâce aux papiers modèles colorés
Articles in the same Issue
- Masthead
- Editorial
- 10.1515/res-2014-0002
- “I knew right from the start that the whole thing would be damned expensive” – Gustav Klimt’s Cartoons for the Stoclet Frieze: Their Creation, Execution, and Conservation, Part II
- Model discoloured paper for analysis of aqueous washing and other conservation processes / Untersuchung und Bewertung wässriger Behandlungstechniken mittels gefärbter Modellpapiere / Analyse et évaluation de techniques de traitement aqueux grâce aux papiers modèles colorés
