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1.
AbstractThe long-term stabilization of marine archaeological iron, whether cast or wrought, continues to challenge conservators responsible for treatment of this material. Results and observations obtained from past treatments highlight the daunting, prolonged, and laborious efforts required to desalinate large and complex ferrous artifacts recovered from the ocean. In general, the higher an artifact's chloride level, the less stable it is. Consequently, any stabilization treatment must involve the removal of as much Cl?1 as possible without affecting the integrity of the corroded artifact. This problem is particularly acute with corroding cast iron objects that have formed thick, fragile, and highly unstable corrosion layers. Over the course of the twentieth century, conservators have used a variety of techniques in an attempt to mitigate the negative effects of chloride ions on iron artifacts and prevent disintegration. In spite of early promise, each of these stabilization techniques has significant disadvantages, particularly with regard to treatment efficiency, duration of treatment, and/or unacceptable risks to the artifact during treatment. For these reasons, conservators and conservation scientists at the Warren Lasch Conservation Center in Charleston, South Carolina, decided to look at the possibility of using subcritical fluids to stabilize archaeological iron. This paper compares the efficiency and effectiveness of traditional stabilization techniques (i.e. alkaline soaking and cathodic polarization) to subcritical fluids on wrought iron rivets and metal shavings from the H.L. Hunley submarine as well as Civil War era cast iron artillery shells recovered from a marine environment. 相似文献
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《Journal Of Archival Organization》2013,11(3):57-73
ABSTRACT The records of art conservators are important for many reasons. As people consider artwork a legacy of American culture so too will they also consider the records generated by individuals who have spent their working lives guaranteeing its long-term survival. Conservators and archival repositories need to work together to ensure that records relating to the treatment of art objects in their many forms be retained and made available to researchers generations from now. Some conservators and institutions have already begun to work together, most notably the conservators who have donated their papers to the Winterthur Museum. The American Institute for Conservation of Historic and Artistic Works and The Getty Conservation Institute organized a two-day roundtable discussion in May 2003, bringing conservators and archivists together to discuss the next steps in archiving the records of art conservators. 相似文献
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ABSTRACTCultural heritage has undergone a paradigm shift in recent decades. Museums in particular have changed from being a house of treasures to be admired by visitors, to being a place where objects provide the context for new interpretations. Today, visitors are provided with an opportunity to participate and co-create meaning. At the same time a UK government requirement for accountability has pushed the sector towards business management and professionalisation. This new context has forced conservators to respond by aligning themselves with these trends. In order to stay relevant conservators have to take on an active role in facilitating audience participation and increased access to collections, while at the same time improving their efficiency and accountability. Preservation frameworks have played a significant role in enabling conservators to respond to these changed needs within the sector. Crucially, preservation frameworks have encouraged conservation professionals to collaborate with colleagues from across an entire organisation. Having gained a broader understanding of the context within which they work, preservation frameworks have also allowed conservators to systematically collate and analyse data and present these to their stakeholders in a language understood by them. The review of a number of case studies reveals that preservation frameworks help conservators understand the bigger picture and be influential at the right levels. 相似文献
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《文物保护研究》2013,58(4):242-248
AbstractDilute solutions of epoxy resins have been used successfully in the past to consolidate deteriorated, porous stone. However, the appearance change (darkening, yellowing) on curing has proved to be a deterrent to the wider use of these materials by conservators. In the study reported here, it is shown that solvent washing to remove surface-deposited resin and exposure to sunlight are effective methods for restoring the original visual appearance of consolidated outdoor stone. 相似文献
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Jenny Dickens Antonio Rava Maria Perla Colombini Marcello Picollo Will Shank 《文物保护研究》2016,61(3):29-37
Keith Haring painted large outdoor murals in Melbourne, Australia, in 1984 (the Collingwood Mural) and at Pisa in Italy in 1989 (Tuttomondo). Recently, both murals have been analyzed and conserved by similar teams of conservators and scientists. The original appearance of the Collingwood Mural was severely compromised, and the original materials much degraded. Tuttomondo was somewhat altered visually but with less physical damage. There were initial suggestions to repaint Tuttomondo but these were dissipated by good communication of the analytical findings. In Melbourne, there was a high-profile and emotive campaign to have the Collingwood Mural repainted. Conservators and government were heavily criticized for supposedly ignoring the artist's wishes. However, detailed research into Haring's published statements revealed that conservation does respect his artistic aims. For the Collingwood Mural, conservators had to consider whether to reduce the visual disturbances which obscured the works. Practices documented by conservation theorists and routinely undertaken by conservators guided the decision to apply mechanically reversible re-integration. This made Haring's unique ‘line’ visible and accessible again, and pleased the public. The controversies showed how conservators must communicate clearly and tactfully; appreciate the feelings of the public and involve communities in conservation, without compromising rigorous scientific and curatorial research. 相似文献
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《文物保护研究》2013,58(3):30-33
AbstractIs the conservation profession dividing into two groups – specialized technicians often working in private practice, and generalists in the heritage sector whose work is often in preventive conservation covering a diverse range of materials? If so are we moving away from conservation specialists, who contribute to the wide range of processes involved with object care and research within particular curatorial disciplines? We examine the increasing distancing of conservators from collections and their curatorial colleagues and will assess how this is reflected in the changing nature of training courses, and the impact this may have on museums in the future. These issues are discussed with reference to the National Museum of Wales, which has recently undergone an externally refereed conservation review. The outcomes of this can be viewed in relation to other institutions employing conservators. 相似文献
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《文物保护研究》2013,58(3):162-168
AbstractAs the great majority of photographic prints have a paper support, their conservation has been based on conservation treatments traditionally used by paper conservators. It cannot be assumed, however, that these standard treatments, that are employed on paper without any problem, will give comparable results on photographic prints. The effects of mechanical cleaning, solvent cleaning, wet cleaning, bleaching and deacidification on salted papers, cyanotypes and platinotypes are investigated and discussed. The treatments were separated into those that gave clearly negative results and should be rejected, and those that should be studied in depth before accepting them as suitable. It was shown that the use of some types of bleaching and deacidification agents can be very dangerous in the case of plain paper prints. Cyanotypes proved to be the most sensitive to any treatment method and platinotypes the most resistant. 相似文献
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《文物保护研究》2013,58(2):147-153
AbstractThe compound 5-amino-2-mercapto-1,3,4-thiadiazole (AMT) is utilized in the conservation of archaeological and artistic bronze artifacts, for their protection and for the removal of corrosion products. Many authors have discussed the utility and efficacy of this, but few have studied the products resulting from the reaction of AMT with bronze or with the corrosion products of bronze; this leaves the restorer with many doubts concerning the acceptability of this method. This paper discusses the study of products obtained from the reaction of AMT with synthesized corrosion products of bronze (malachite, paratacamite and brochantite) and with the commercial bronze alloy TM 23 (Cu 72%, Pb 15%, Zn 8% and Sn 5%). It was found that the film obtained from the direct reaction of AMT with the bronze alloy can be AMT itself, or the metallic complex Cu(C2H2N3S2)2·H2O if AMT is applied in a solution of an oxidizing acid. These results are expected to be of value to conservation scientists and restorers/ conservators concerned with the use of AMT for the conservation of bronze artifacts. 相似文献
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AbstractLittle has been written about the roles of conservators in regard to the preservation of human remains. This article examines the new challenges that face conservators as we become more involved with human remains under the new laws and approaches that protect indigenous community rights. The authors explore three areas critical to this debate, namely conservation expertise, training and outreach. Three scenarios for the conservator's role are presented. The authors suggest conservators should aim for the third role, that of ‘contributing colleague’, especially in the multidisciplinary and highly sensitive area involving the study of human remains. Also presented is a case study involving teamwork with the Kennewick Man remains. Though the discussion is limited to applications of preservation issues to human remains, the concepts have wider applications in the conservation field in general. 相似文献
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《文物保护研究》2013,58(4):265-273
AbstractThis paper reports on the results of experiments to test for visual changes to paint systems after biocidal treatments, using a statistical binary procedure. Four biocides were selected, two of which are fungicides—a quaternary ammoniumorganotin mixture (BioMet 66®)in distilled water and an orthophenylphenol (Lysol®) in a spray— and two of which are fumigants—sulfuryl fluoride (SO2F6), a gas (Vikane®), and nitrogen gas (N2) (as an anoxant). The procedure used to assess the effect of the biocidal treatments was a random field visual scoring regimen by two paintings conservators. The tests were conducted on 30 combinations of linen, rabbitskin glue size, lead white oil ground and oil-based paints. The visual assessment procedure provided information on color change, gloss change, blanching, topography change and precipitation. The results indicated that Vikane adversely affected 10 of 11 pigment systems; Lysol adversely affected six of 11 pigment systems; BioMet 66 had a minor effect on four of 11 pigment systems; and nitrogen had no visible effect on any sample. The visual technique provided a quick and broad method for assessment of non-subtile visual changes. 相似文献
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AbstractThe recent development of a phosphate hardening paste without oxalates, as well as consideration of the mixed calcium oxalate-phosphate composition of the hardest urinary stones, provide evidence to suggest that the formation of some patinas is the result of old protective treatments on stone surfaces. The formation of patinas with phosphates and oxalate scialbatura on marble and limestone is discussed as a contribution to the debate amongst conservators and scientists about the nature, composition and origin of these patinas. It is concluded that for the formation of both the inner part and the outer part of the patinas, the concurrent action of microorganisms and man is necessary. In both cases, man provides the foods and the microorganisms effect the transformation. 相似文献
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《文物保护研究》2013,58(4):281-297
AbstractCellulose poultices are frequently used in stone and wall painting conservation for the purposes of soluble salt extraction, consolidation and cleaning. They have the reputation of being easy and pleasant to work with, have a neutral pH, high water absorption and plasticity, exhibit good conformance and adhesion to the substrate, and in most cases leave minimal residues after clearance. The cellulosic materials from which they are composed range from cotton wool, blotting paper or newspaper, to cellulose powders, the latter now by far the most common form of cellulose used today by conservators. Drawbacks of these products include poor water retention when applied to vertical surfaces, a tendency to redistribute salts further into the object substrate, and poor long-term treatment effectiveness for salt extraction. Hence cellulose poultices are used frequently due to good working properties, but apparently are in some situations not very effective. In this paper, existing knowledge of these poultices is outlined, followed by investigations undertaken to fill some of the knowledge gaps. Investigations include characterization of poultice properties such as pore size distribution and workability, and of moisture transport processes within poultice/substrate systems including moisture penetration depth, moisture distribution, and poultice shrinkage during drying. Cellulose powder products known under the trade name Arbocel®, extensively tested and used in conservation over several decades, were a particular focus. Resulting guidelines include counter-intuitive measures such as (when used for salt extraction purposes) the use of thinner poultices to reduce drying shrinkage and salt redistribution further into the substrate. The relatively uniform pore size distribution (around 10 μm) of Arbocel® poultices makes them more appropriate for salt extraction on substrates with a medium-coarse pore size (i.e. 15 μm and above), while on fine porous substrates (10 μm and below), the extraction will not be as efficient. 相似文献
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《文物保护研究》2013,58(3):172-182
AbstractThis paper provides an understanding of an under-explored aspect of the sharing of conservation decisions. In particular, it argues that conservation decisions are inherently shared in at least three senses. First, conservation is conceived as a field of shared values, principles, and decision-making methodology, and aspires to a universally shared ethic. This view is supported by the logical and ethical consistency of existing Codes of Ethics, and is made manifest with the aid of a conceptual model of what science is. Second, conservation decisions are conditioned by the identity of heritage entities. The values comprising the heritage identity of an entity transcend space and time boundaries; they are interrelated and interdependent and, as such, shared. Third, the benefits but also the harms stemming from conservation decisions and actions are distributed and shared among all people for whom the object of a conservation decision is heritage. As dictated by the do-no-harm principle, conservators have a duty to consider risks of such harms when making decisions. 相似文献
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《文物保护研究》2013,58(1):179-183
AbstractThis paper deals with the approach to the conservation of a Spanish-style saddle and anquera (rump cover) from Mexico City and Puebla, Mexico, respectively. The objects were originally bought by an English explorer for a journey and are described in his book. The saddle and anquera are made from vegetable-tanned cowhide with punched and embroidered decoration and metal fittings. The condition, of the leather was assessed scientifically. It exhibits a number of conservation problems, notably surface deterioration and detachment of several sections due to acid attack. Previous conservation treatments have caused the leather to become overstuffed with dressing, resulting in a weakening of the substrate. The conservation ofthe saddle will involve four main stages: removal of excess dressing, stabilization of the leather, consolidation of the friable surface and repair of torn and broken areas. The suitability of various stabilizing agents, consolidants and methods of application was evaluated using mechanical tests alone and accelerated aging and mechanical tests. Naturall y aged and degraded leather was used as an experimental substrate. The results were used to formulate the approach to the conservation of the saddle and anquera. 相似文献
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《文物保护研究》2013,58(4):263-268
AbstractAccelerated corrosion tests have been used for almost 30 years to exclude corrosive materials from museum display and storage. The method reported by Green and Thickett in 1995 has been developed to allow the evaluation of three metals (silver, copper and lead) simultaneously in a single test. Comparison of a wide range of materials has shown that the differences in results introduced by this modification are less than the differences encountered with replicate tests using the same material employing the previous method. Problems encountered with corrosion in lead control tests have been investigated and the method has been modified to remove this effect. The cleaning method for the test vessels has been modified to exclude the hazardous chemical, chromic acid. 相似文献
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ABSTRACTArchives and digital collections have traditionally supported undergraduate research experiences or existed in the syllabus as neat, packaged projects or assignments. Now these artifacts are taking center stage in the digital liberal arts classroom. Librarians and archivists are also realizing new opportunities to teach undergraduates their professional tools and methodologies, and they are forging new ground in the classroom teaching students how to curate and create digital scholarly projects. This case study reveals the experiences of two information professionals who cotaught a distance digital liberal arts seminar. It seeks to expand the pedagogy of the digital liberal arts and explore its viability via distance education. 相似文献
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ABSTRACT This paper seeks to give insight into conservators' reflections about their practice and professional role. Ecclesiastical art from and in churches is an example where a variety of claims can be present and trigger diverse approaches to conservation and restoration. In this study we approached ecclesiastical art as a gateway to insight into conservator-colleagues' experiences and their views on decision-making, prevailing ethical boundaries, and the conservator's professional role. To gain access to the practitioners' own words and reasoning, in-depth interviews with seven conservators were chosen as a method. The interviews were analysed using a variant of qualitative analysis with an ideal of a theory-free starting point and by taking a constructivist and inductive approach. Through coding, themes and theories emerged from the data, which gave insight into a Norwegian status quo of practice, three emerging categories or topics caught our special interest and are described and discussed in this paper. The category, Conservation is a narrow path, gives an account of internal and external restrictions in the field. Internalised ethical restrictions and financial limitations are most often determining factors for conservator's decisions. The second category, Acting on behalf of objects, shows that conservators tend to feel obliged to the objects rather than to stakeholders. They understand their roles as defenders and mediators of the object. Conservators' potentially emotional closeness to the object is discussed. The experts should have the strongest voice, refers to the fact that stakeholders' opinions are only sparingly involved in decision-making among the interviewed conservators. Instead, projections of possible interests of stakeholders are often part of the conservators' basis for decision-making. However, external preconditions, as the mandates given by authorities, and financial issues play a role in the rather top-down nature of communication and decision-making. In light of (recent) claims for more people-based decision-making there seems to be a gap between theory and practice. Nonetheless, the authors argue that the conservator's engagement for and with the material object still is a necessary point of departure for conservation endeavors. 相似文献
20.
Spectrometric handheld light meters that can provide adequate data for evaluation of replacement bulbs for contemporary art objects are now commercially available. This approach was taken to assess potential replacements for the incandescent street lamps in Chris Burden's Urban Light at LACMA, Los Angeles, USA. These meters are also useful tools for monitoring and characterizing museum lighting, which are currently done with illuminance (lux) meters. The new spectral light meters will enable conservators to tailor lighting recommendations for individual artworks, when spectral information from these meters is combined with damage function data on artists’ materials. The latter information can be obtained for some materials by a small modification to the microfade testing procedure, as exemplified by microfading colored samples Henri Matisse created during the design phase for La Gerbe. 相似文献