{"title":"Rehousing of print collections at The British Museum—the William Blake post binder project and other recent approaches","authors":"J. Rayner","doi":"10.1080/03094227.2003.9638629","DOIUrl":"https://doi.org/10.1080/03094227.2003.9638629","url":null,"abstract":"Summary The Department of Prints and Drawings at The British Museum has a very large collection of around two million prints, housed and stored in a variety of ways. There is a continuous programme of work to improve the organization and care of this collection and, in recent years, many prints have been rehoused. Because it is a study collection, the priority is not simply safe storage, but protection during handling and viewing. Consideration must also be given to the demands of exhibition and loan programmes, to economic and time factors and to storage space, which is very limited. To satisfy all these requirements a number of routine approaches have been adopted, utilizing, for example, standard-sized mounts in Solander boxes or—especially in recent years—post binders with Melinex sleeves. Such methods are useful when dealing with large numbers of objects but are not necessarily ideal in every case. Conservators responsible for big collections are often under pressure to complete large quantities of work, but must at the same time maintain an alertness and sensitivity to the particular needs of each object or group of objects they encounter and try, where appropriate, to come up with new and better solutions. This article discusses the considerations involved in some recent rehousing projects. It uses a current example involving some of William Blake's illuminated books, to illustrate one way in which a routine approach (in this case the use of post binders) has been adapted to provide a more sympathetic response to the needs of one particular group of objects.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130638075","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":"From sausage rolls to sushi and back again: Lessons for successful travelling block-buster loans","authors":"Maureen Cross, Kathleen Flynn","doi":"10.1080/03094227.2003.9638631","DOIUrl":"https://doi.org/10.1080/03094227.2003.9638631","url":null,"abstract":"Summary Special temporary exhibitions and travelling shows offer museum and gallery professionals an opportunity to bring together specific collections to demonstrate a particular movement, represent the complete oeuvre of a single artist, or present simply a group of works for the general public to enjoy. Whatever the theme or subject matter of the exhibition, the movement of works of art inevitably puts them at risk. Many factors must be considered before agreeing to participate in travelling shows. Using an exhibition that travelled from Manchester City Galleries to six venues in Japan as a case study, this paper discusses some of the questions that need to be asked in advance of shipping. It also aims to show lenders some of the steps that should be taken in order to ensure the safe delivery to and display of precious works of art in host venues. Specific examples of challenging situations met are offered not to criticize either the lending institution or borrowing organization, but rather to examine the events that transpired, highlight lessons learned and outline planning procedures that anticipate most eventualities, so that the exhibition may be carried out as safely as possible.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129537491","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":"Courier training at Tate","authors":"J. Ridge","doi":"10.1080/03094227.2003.9638632","DOIUrl":"https://doi.org/10.1080/03094227.2003.9638632","url":null,"abstract":"Summary This paper describes an in-house training programme for art couriers at Tate, London, that has been running since 1999. The role of a Tate courier is considered in the context of the extensive art movement necessary to sustain the institution's busy public programme at four disperse sites and the need to transport works from it's offsite store. The training aims to create a network of well briefed couriers, who are able to step outside their normal discipline and be confident in dealing with areas they are not involved with day to day. The training does not aim to present a set of rules but to establish and explore principles that can be applied to a range of situations, and to further the understanding of procedures in place that give a degree of standardization and allow Tate to cope with its display demands. It is hoped that this paper might provide some ideas for those interested in devising a training programme tailored to their individual needs.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129704529","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":"Laponite residues on paper and parchment","authors":"A. M. Totten","doi":"10.1080/03094227.2003.9638628","DOIUrl":"https://doi.org/10.1080/03094227.2003.9638628","url":null,"abstract":"Summary Laponite is a synthetic inorganic clay of very small particle size that disperses in water to form a thick, thixotropic, colloidal gel. It is used as a poultice in the conservation of ceramics, textiles, books and parchment to remove dirt and adhesive residues. The purpose of this study was to determine whether a residue would remain on paper and parchment substrates treated with a Laponite poultice. Samples were coated with Laponite gel that was scraped off after a fixed amount of time. Portions of the samples were also swabbed with ethanol. After accelerated ageing, samples treated with Laponite had yellowed and darkened more than untreated samples. Laponite residues were identified on all substrate types and in some instances were visible under magnification as a dried, cracked film. All analytical techniques revealed the presence of Laponite, except optical microscopy and ultraviolet fluorescence microscopy where results were inconclusive.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126293736","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":"Dyeing cellulose-fibre paper with fibre-reactive dyes","authors":"Ruth E. Norton","doi":"10.1080/03094227.2002.9638621","DOIUrl":"https://doi.org/10.1080/03094227.2002.9638621","url":null,"abstract":"Summary In objects conservation, Japanese papers are used for a variety of treatments of two- and three-dimensional artefacts. In many applications, the paper must be unfilled so that it can be tamped into textured surfaces, and toned before use as inpainting increases treatment time and introduces pigment and binder which may complicate treatment procedures and be difficult to remove in future. Dyed repair paper meets these requirements. Fibre-reactive dyes are formulated for use on cellulosic material. Paper, textile and plant material can be dyed at room temperature to achieve good to excellent lightfastness, excellent solventfastness and neutral pH. Selection of dyes for balance and lightfastness, production and use of a three-colour chart for hue reproduction and detailed processes for dyeing paper are described.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125194530","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":"Toning with ‘paper extract’","authors":"Piers Townshend","doi":"10.1080/03094227.2002.9638619","DOIUrl":"https://doi.org/10.1080/03094227.2002.9638619","url":null,"abstract":"Summary ‘Paper extract’ is a name for the substance obtained by the evaporation of dixoloured paper washwater. This may seem at first to be an unpromising material, but trials have shown it to be useful to the paper conservator. Several instances are given in which paper extract was used and found helpful as a toning material for pale spots in paper.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"195 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134432450","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":"Guidelines for authors preparing manuscripts for publication","authors":"","doi":"10.1080/03094227.2002.9638625","DOIUrl":"https://doi.org/10.1080/03094227.2002.9638625","url":null,"abstract":"","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"13 51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116109523","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 practicalities and aesthetics of retouching: Rationality versus intuition","authors":"Jane McAusland","doi":"10.1080/03094227.2002.9638618","DOIUrl":"https://doi.org/10.1080/03094227.2002.9638618","url":null,"abstract":"Summary The complexity of decision-making in the reintegration of losses suffered by works of art on paper is explored. The relevant ethics and aesthetics are discussed. An attempt is made to bring together the relative points that should be taken into account before practical restoration takes place, and a few examples of decisions are given. The author feels that this subject has generally been neglected in the context of paper conservation, and a debate should begin and work towards a new philosophy in this area.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124835444","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":"An investigation of the use of digital colour matching for the toning of papers using ink-jet printing","authors":"Chrysoula I. Papanagiotou","doi":"10.1080/03094227.2002.9638624","DOIUrl":"https://doi.org/10.1080/03094227.2002.9638624","url":null,"abstract":"Summary The author investigated the possibility of defining colour digitally, based on the tristimulus values of an established target, and obtaining accurate reproduction through ink-jet printing. The effectiveness of the process was assessed using a poster with a missing black-coloured area. The missing colour was set as the target to be digitally reproduced. CIE L*a*b* values and spectral reflectance curves of printed specimens were compared to those of the target in a viewing booth under illuminant D65. Accurate colour reproduction was found to be possible and the use of this method for toning in fills on paper objects could save time when compared to conventional methods, thus being cost-effective. The merits of adopting a reliable Colour Management System are outlined and the steps involved in achieving this novel approach towards the toning of paper are described in detail.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116795274","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":"Some alternative strategies in matching and toning paper and parchment for repair of books and manuscripts","authors":"Lien Gyles, Ivan Maver","doi":"10.1080/03094227.2002.9638623","DOIUrl":"https://doi.org/10.1080/03094227.2002.9638623","url":null,"abstract":"Summary This article describes some of the methods used to tone repair materials, in particular use of the airbrush with watercolour pigment whilst repairing leaves of a copy of the Discorsi of Pierandrea Mattioli. The principles of repair are discussed, and a selection of available materials and methods, including Japanese tissues, western hand-made papers, blank original leaves and leaf-casting techniques are outlined. Traditional aqueous methods of dyeing parchment and methods of toning modern skins with solvent dyes are described. The nature of the dyeing process and the use of direct and fibre reactive dyes for paper are discussed, together with the use of the fixative Sandofix WEM. Other treatment options considered are the use of dry pigments, ‘palimpsest’ repairs for vellum manuscripts, and a method of treating modern vellum with polyethylene glycol to make it more compatible with original material.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131236038","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}