{"title":"Venice in pieces: Preservation and display of a pieced and folded woodcut","authors":"Claudia Benvestito","doi":"10.1080/03094227.2007.9638653","DOIUrl":"https://doi.org/10.1080/03094227.2007.9638653","url":null,"abstract":"Preserving an oversized paper artefact or work of art is always problematic, if one considers how much space is required for flat storage, handling and display of these items. Problems of scale are even more challenging when the object in question is a large folding plate bound within a book which cannot be stored flat and unfolded. When folded inside the book, the plate is under constant pressure from the text-block which may lead to folds being compressed and split. Once opened, the illustration is often at risk because of the lack of a safe support for it while it is being consulted, especially when the primary support is already brittle and creased. Finally, whenever the plate is unfolded, it is very hard to refold correctly following earlier fold lines, whether or not this is desirable. This paper describes an effective solution to this difficult problem with reference to a fifteenth-century panoramic view of Venice. A method of temporary mounting and partial encapsulation for display and examination was devised Fig. i Peregrinationes iti Terram Sotictam, 1486, Bibfioteca Nazionale Marciana, Venice (Inc, 382), central portion of the panoramic woodcut of Venice.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2007-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114119830","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Prague floods of 2002","authors":"J. Dvořáková","doi":"10.1080/03094227.2007.9638654","DOIUrl":"https://doi.org/10.1080/03094227.2007.9638654","url":null,"abstract":"On August 13,2002, the river Vltava burst its banks in Prague. The subsequent flooding which struck the capital of the Czech Republic had not been seen in the previous 500 years. The flood affected the whole Vltava basin, involving mainly southern, central and northern Bohemia and cities such as Ceske BudEjovice, Klatovy, Tabor, Cesky Krumlov, Strakonice, Plzeii, Roztoky u Prahy, Terezh, Usti nad Labem as well as some cities in Germany. In 1997, the Morava river burst its banks and small villages in southern Moravia were flooded, but the scale was relatively minor. The floods of 2002 and particularly the effects on Prague were on the scale of the 1966 flood in Florence (Fig. I). Many government ministries and institutions such as libraries and museums were affected, involving thousands of metres of documents, plans, and volumes (Fig. z ) . ~ In response to this disaster, the National Library and National Archives set up a consultation centre for all institutions affected by the flood and disseminated guidelines for work on flood-damaged material via the internet, pamphlets, and word of mouth. From the outset, close co-operation was established between the national institutions and the Municipal Library of Prague, and the freezing facilities of the Mochovske mrazirny (a frozen food company) in nearby Kladno were enlisted. The exact number of items affected cannot be ascertained, but flood-damaged books and documents from more than 50 institutions along the Vltava basin were transported into the huge freezer hall where some 140,000 volumes were frozen (Fig. 3). During the flood, the Municipal Library lost its conservation workshop in HoleBovice where its rare collection of historical printed books had also been stored. After salvage, this collection was frozen at the Mochovske mrazirny facility in Kladno. From September 2002 through to the end of August 2003, a Q.2 Flooded books at the Municipal Library, 14 August zooz.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2007-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116415038","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Endbands in Greek-style bindings","authors":"Georgios Boudalis","doi":"10.1080/03094227.2007.9638652","DOIUrl":"https://doi.org/10.1080/03094227.2007.9638652","url":null,"abstract":"Summary This article examines the presence and role of endbands in Greek-style bindings based on the author's research in two outstanding monastic book collections, Iviron Monastery in Mount Athos and St Catherine's Monastery in Sinai. The meagre iconographical and literary sources on endbands are mentioned and the aesthetic and functional aspects of endbands are explained. To enable consistent description of endbands, a classification system is proposed based on the distinction between simple/compound endbands, primary/secondary sewing, presence/absence of cores, and techniques of construction such as sewing, weaving, or a combination of both. a statistical analysis follows, based on a sample of 283 Greek-style bindings dated between the late fifteenth and early eighteenth centuries. The major changes in the use and construction of endbands in this sample are described and the substitution of Greek-style technique by Western European practice is detailed.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2007-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126086710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Installation methods for Robert Ryman's wall-mounted works","authors":"Daria Keynan, Julie Barten, E. Estabrook","doi":"10.1080/03094227.2007.9638650","DOIUrl":"https://doi.org/10.1080/03094227.2007.9638650","url":null,"abstract":"Summary Recent years have seen a steady increase in paper-based art designed to be installed directly on the wall without backings, mounts or frames. The difficulty in designing both safe and aesthetically pleasing mounting systems for such works is considerable. Conservators seeking better solutions have been making use of magnets in order to provide the direct viewing required by artists with a relatively easy and safe means of installing the work. This paper describes the use of several variations on magnet systems that have been applied to the work of Robert Ryman, who has been impressed both by their effective simulation of his original installation aesthetic and with the ease of their implementation.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2007-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128641585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Conservation of a nineteenth-century set design by Clarkson Stanfield","authors":"Susan Catcher","doi":"10.1080/03094227.2007.9638651","DOIUrl":"https://doi.org/10.1080/03094227.2007.9638651","url":null,"abstract":"Summary The acquisition of the Bagshawe Collection by the Victoria and Albert (V&A) Museum in 2000, comprising 80 newly discovered working designs and model pieces provides an important insight into the working methods of Clarkson Stanfield during his time in the Theatres Royal, Drury Lane and Covent Garden scene rooms. The mixed-media backdrop design of Handel's Acis and Galatea demonstrates a very modern approach in the use of materials and the immediacy of their depiction. The conservation required collaboration from many departments within the museum and enabled a new use of isinglass butterfly stitches to be developed. The eventual storage solution of individually shaped Plastazote® foam trays provided support for the many fragile pieces. These trays were then enclosed in acid-free corrugated board boxes that allowed for the stabilizing of environmental conditions.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"08 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2007-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127298993","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sõura uchikae: Replacement of the final backing layer in hanging scrolls","authors":"S. Sasaki","doi":"10.1080/03094227.2006.9638433","DOIUrl":"https://doi.org/10.1080/03094227.2006.9638433","url":null,"abstract":"Summary Displays of light-sensitive materials, such as hanging scrolls, at the Freer Gallery of Art, Washington DC, are regularly changed in a six-month rotation cycle. In late 2003,12 hanging scrolls of Ukiyo-e paintings executed in the Edo period (1600–1868) were selected for display, scheduled for August 2004. The condition of each scroll was carefully examined by conservators in the East Asian Painting Conservation Studio and treatment options were discussed with the museum's curators. It was decided that three hanging scrolls would undergo replacement of the final backing layer rather than complete remounting. In this article, three of the hanging scrolls are discussed, including treatment options, condition of the scrolls and paintings, and some aspects of the treatment process will be described in comparison with a hanging scroll also executed in the Edo period which was completely remounted.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120954586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Korean traditional mounting (janghwang)","authors":"Chi-sun Park","doi":"10.1080/03094227.2006.9638438","DOIUrl":"https://doi.org/10.1080/03094227.2006.9638438","url":null,"abstract":"Summary This article describes the cultural influences on Korean traditional mounting (janghwang) during the major periods of its history, and gives details of the structures and characteristics of hanging scrolls, hand scrolls, folding screens, and albums which are unique to Korea.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"119 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116608751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Japanese folding screens in a Western collection: Notes on a representative treatment","authors":"T. Mcclintock","doi":"10.1080/03094227.2006.9638431","DOIUrl":"https://doi.org/10.1080/03094227.2006.9638431","url":null,"abstract":"Summary Scholarship about Far Eastern works of art, their formats and materials, and the procedures used in their conservation has grown in the last quarter century. This article seeks to contribute to that subject by describing the overall treatment of a Japanese folding screen in sufficient detail to be both illuminating and cautionary. While not a connoisseur of the arts of Japan, Charles Longfellow (1844–1893) was an intrepid resident there from 1871 to 1873. He returned to the house of his father, the poet Henry Wadsworth Longfellow, which he furnished with a group of unusual folding screen paintings that demonstrated the worldly sensibilities of the Longfellow circle. The screens were conserved for permanent display at Longfellow House, a National Park Service historic site. This article describes the derisions taken and the procedures used in their conservation and remounting. Of particular interest are the strategies adapted for the treatment of paintings which were less conventional in format and materials, and how a speciality so intimately identified with a longstanding and respected tradition of conservation can be undertaken with credibility outside of the original geographic and educational framework of practice.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"362 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122811681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"East and West: A unified approach to paper conservation","authors":"P. Webber","doi":"10.1080/03094227.2006.9638432","DOIUrl":"https://doi.org/10.1080/03094227.2006.9638432","url":null,"abstract":"Summary This article gives an overview of the last 30 years of interaction between East and West in paper conservation. It is an attempt to cite the major influences in this area of study and presents information gathered on the subject through the author's personal experience and through a comprehensive review of the published literature. This fertile exchange between Western and Eastern conservators has led to more treatment choices and an expanded knowledge bank of techniques and materials for all to use.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133378867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Japanese tools for conservation","authors":"A. Thompson","doi":"10.1080/03094227.2006.9638434","DOIUrl":"https://doi.org/10.1080/03094227.2006.9638434","url":null,"abstract":"Summary Japanese brushes have been widely accepted and appreciated by the conservation profession in the West for many years. This article considers some of the other specialized tools used by craftsmen in Japan. Carpentry tools, specialist knives and even tools made by the conservators themselves are detailed along with an explanation of how they are maintained and used. Often tools which might appear similar to those found in the West have quite different characteristics and these must be clearly understood in order to use the tools effectively.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132710207","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}