The “Triumphal Procession Miniatures” of Emperor Maximilian I: Conservation, Restoration, Mounting, Exhibition Presentation and the Development of a Storage Concept
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Elisabeth Thobois
Elisabeth Thobois is head of conservation at the prints and drawings collection at the Albertina Museum Wien. She obtained her M.A. at the Akademie der bildenden Künste in Vienna in 1978. She has been head of several projects, including the development of the Albertina poultice and, most recently, the conservation of the “Triumphal Procession Miniatures” of Emperor Maximilian I by Albrecht Altdorfer.
Abstract
The “Triumphal Procession Miniatures” of Emperor Maximilian I, one of the most important objects belonging to the Albertina Collection of Graphic Art, was on show for the first time in over 50 years in an exhibition from 14th September 2012 to 6th January 2013. The 59 large format parchment sheets richly painted in the manner of miniature painting were commissioned by the Emperor and produced by Albrecht Altdorfer and his workshop in Regensburg in 1512–1515. The unusual dimensions of the procession and its presentation as a continuous cycle of images with a length of almost 54 m, with the historic overlaps at the edges of the sheets taken into account, presented particular challenges in planning, treatment logistics and mounting techniques. This paper presents the logistical prerequisites for the realisation of the project in a period of 24 months and the development of a mounting system suitable for display purposes as well as long-term storage and ready accessibility for the future.
Zusammenfassung
Die Triumphzugminiaturen für Kaiser Maximilian I: Konservierung, Restaurierung, Montierung, Ausstellung und Präsentation, und Entwicklung eines Aufbewahrungskonzepts
Die “Triumphzugminiaturen” Kaiser Maximilians I, eines der bedeutendsten Objekte der Graphischen Sammlung Albertina, wurde vom 14. September 2012 bis zum 6. Januar 2013 erstmals nach über 50 Jahren der Öffentlichkeit in einer Ausstellung präsentiert. Die 59 großformatigen, reich in Miniaturmanier bemalten Pergamentblätter wurden im Auftrag des Kaisers von Albrecht Altdorfer und seiner Werkstatt in Regensburg von 1512–1515 geschaffen. Die ungewöhnliche Dimension des Triumphzugs und seine Präsentation als fortlaufender Bilderzyklus mit einer Länge von fast 54 m, unter Berücksichtigung historischer Überlappungen in den Randzonen der Blätter, stellten besondere Anforderungen an Planung, Bearbeitungslogistik und die Montagetechnik. Der Beitrag stellt die logistischen Voraussetzungen für die Realisierung des Projekts in einem Zeitraum von 24 Monaten dar, sowie die Entwicklung eines ausstellungsfähigen Montagesystems, das gleichzeitig die nachhaltige Langzeitverwahrung der Blätter ermöglicht und die kontinuierliche museale Nutzung der Objekte gestattet.
Résumé
Le char triomphal de l´Empereur Maximillien premier: conservation, restoration, montage, exposition et présentation, et développement d´un entreposage à long terme
Le char triomphal de l´Empereur Maximillien premier, l´une des œuvres les plus importantes de l´Albertina, a été présenté au public dans une exposition du 14 septembre 2012 au 06 janvier 2013, pour la première fois depuis plus de cinquante ans. Il s´agit de cinquante-neuf œuvres sur parchemin de grand format, peintes comme des miniatures, réalisées entre 1512 et 1515 à Regensburg par Albrecht Altdorfer et son atelier. La dimension impressionnante de cette procession triomphale de presque cinquante-quatre mètres de long et la présentation de ce cycle sous forme d´une frise continue, en tenant compte des zones de recoupe historique ont nécessité une planification, une logistique et une technique de montage adaptées. Ce compte-rendu présente les défis logistiques rencontrés pour la réalisation en deux ans de ce projet, ainsi que la mise au point d´un système de montage permettant à la fois l´exposition des œuvres et le conditionnement à long terme, pour garantir un accès muséal ultérieur de ces œuvres.
About the author
Elisabeth Thobois is head of conservation at the prints and drawings collection at the Albertina Museum Wien. She obtained her M.A. at the Akademie der bildenden Künste in Vienna in 1978. She has been head of several projects, including the development of the Albertina poultice and, most recently, the conservation of the “Triumphal Procession Miniatures” of Emperor Maximilian I by Albrecht Altdorfer.
References
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Materials and suppliers
| Isinglass | Maria Przybylowww.stoerleim-manufactur.de |
| Wallmaster latex spongeand Gore-Tex® laminate on polyester fleece | Deffner und JohannMühläckerstr. 13D-97520 Röthlein/Schweinfurt |
| H/M Kozu 43100% Kozo, 29 g/m2 | JAPICO – Römerturm Feinstpapier GmbH &Co.KGAlfred-Nobel-Str.19D-50226 Frechen |
| Viledon (Polyestervlies) 30 g/m2Paraprint OL 60 | GMW – Gabi KleindorferAsterstraße 9D-84186 Vilsheim/Kapfing |
| Dow Chemical Methocel® A 1 5 C | Sigma-Aldrich Chemie GmbHEschenstrasse 5D-82024 Taufkirchen bei München |
| Kozu K-14100% Kozo 106 g/m2 | Paper Nao1-29-12-201 Sengoku Bunkyo-kuTokyo 112 |
| Article 0211106-Albertinamultiply corrugated boardEF-EF with 1mm museum card boardon both sides3375 g/m27.5 mm thick | KLUG-CONSERVATIONZollstraße 2D-87509 Immenstadt |
| KapafixPolyurethane hard foam panel | Wohlleb Rahmen GmbHDreherstraße 13A-1110 Wien |
| “Felt material”needlona® ZWV 452 white, 3 mm, 450 g/m2100% cellulose fibres (viscose) | Wedermann Ges.m.b.H.Mariahilferstraße 101A-1060 Wien |
| Shofu wheat starch, double refined | Japico, Feinpapiervertriebsges.m.b.H.Rasmussengasse 2A-1210 Wien |
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Catalogue “Emperor Maximilian I. and the Age of Albrecht Dürer” Albertina, Munich: Prestl 2012.
- 2
The concrete realisation of the project began in spring 2009. The entire plan was based on the original exhibition opening date of spring 2011. The exhibition actually took place between September 2012 and January 2013.
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Examination was done with µRFA (COPRA) with a measuring area of ca. 0.1 mm as well as reflectance FTIR (Bruker Optics, ALPHA) on selected sheets. The data showed the following metal foils, pigments and dyes to be present: gold, silver, (oxidised) lead white, lead-tin yellow, orpiment/realgar, red ochre, vermilion, azurite, some in admixture with lead white, as well as madder lake and indigo. The green on sheets 25,237 and 25,221 was identified by FTIR as brochantite Cu4[(OH)6|(SO4)]. The writing and drawing medium was shown to be iron gall ink in various compositions (see References: Jembrih-Simbürger et al. 2010)
- 4
Das Chorherrenstift St. Florian, Österreichische Revue 5, Heft 7 (1867): 51
- 5
Exhibition catalogue Albrecht Altdorfer und sein Kreis Munich: C. Wolf & Sohn 1938: 104–121.
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Surface cleaning was restricted according to the definition by Duhl and Nitzberg in AIC Paper Conservation Catalog, Chapter 14, 1992: “a mechanical technique to reduce superficial soil, dust and other deposits on the surface of a […] object”.
©2014 by De Gruyter
Articles in the same Issue
- Frontmatter
- Editorial
- Ideas for Mounting and Framing of Large-Scale Works on Paper
- Technical Note: A Rubber Stamp for Micro-Dot Hinging
- Mounting Works on Paper with Neodymium Magnets
- Mounting Paper Objects for the Permanent Exhibition at the German Historical Museum Berlin
- The “Triumphal Procession Miniatures” of Emperor Maximilian I: Conservation, Restoration, Mounting, Exhibition Presentation and the Development of a Storage Concept
- Stacked Storage System for Large Works on Paper
- Mounting and Re-framing a Large-Scale Work on Paper by Bruno Gironcoli Reusing the Original Frame
Articles in the same Issue
- Frontmatter
- Editorial
- Ideas for Mounting and Framing of Large-Scale Works on Paper
- Technical Note: A Rubber Stamp for Micro-Dot Hinging
- Mounting Works on Paper with Neodymium Magnets
- Mounting Paper Objects for the Permanent Exhibition at the German Historical Museum Berlin
- The “Triumphal Procession Miniatures” of Emperor Maximilian I: Conservation, Restoration, Mounting, Exhibition Presentation and the Development of a Storage Concept
- Stacked Storage System for Large Works on Paper
- Mounting and Re-framing a Large-Scale Work on Paper by Bruno Gironcoli Reusing the Original Frame
