{"title":"Risk management, value and decision-making","authors":"N. S. Baer","doi":"10.1080/03094227.2001.9638680","DOIUrl":"https://doi.org/10.1080/03094227.2001.9638680","url":null,"abstract":"Summary In over three decades of teaching at the Conservation Center of the Institute of Fine Arts, New York, the author has explored a number of organizing principles to synthesize the vast body of materials science encountered in the conservation of cultural property. Among these has been the concept of risk management as defined by various committees of the National Academy of Sciences. This led logically to the question of value and values. In the recent past, the author has engaged in interdisciplinary dialogue with economists, mathematicians and political scientists, considering mechanisms of decision-making in the preservation of cultural property. Using selected examples drawn from the assignments the author has given his students, the evolution in his teaching methods and the parallel evolution of the discipline of conservation are examined.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128963804","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 conservation of a scrap screen from Carlyle's House, London","authors":"C. Gaskell","doi":"10.1080/03094227.2000.9638423","DOIUrl":"https://doi.org/10.1080/03094227.2000.9638423","url":null,"abstract":"Summary This article describes the extensive conservation work carried out on a four-panelled folding screen covered in 442 prints, drawings and watercolours with a decorative border. The screen was made in 1849 by Jane Carlyle and was from the Carlyle's House in Chelsea, London, a National Trust property. All the components of the screen covering were severely degraded, making local repairs impractical. Therefore, after extensive record taking, the coverings were removed from the wooden frame and the panels built up again using conservation quality materials and including a panel of low density polyethyline foam in the central void of each frame for extra protection. Treatment of the paper items included varnish removal; washing; repairs to tears, punctures and missing areas; before they were replaced on the new panels. The degraded embossed leather covering the edges was also replaced with new leather. Consideration is given to options for sizing and re-varnishing, before reverting to using the traditional materials of gelatine and dammar resin.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128508269","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":"A glance at the history of display and mounting of British watercolours","authors":"Shulla Jaques","doi":"10.1080/03094227.2000.9638426","DOIUrl":"https://doi.org/10.1080/03094227.2000.9638426","url":null,"abstract":"Summary Outlining the rise in popularity of the British watercolour this article traces the development of specialized mounting boards with reference to suppliers' literature, in particular that of Winsor & Newton. It looks at the variety of boards available and mentions some of the aesthetic, fashionable and practical styles chosen by artists and mounters.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128742356","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":"Conserving reflections of the American Civil War: case study of a nineteenth-century panorama box","authors":"Ted Stanley","doi":"10.1080/03094227.2000.9638425","DOIUrl":"https://doi.org/10.1080/03094227.2000.9638425","url":null,"abstract":"Summary Panorama boxes have long been an integral part of the development of peepshows. Since the fifteenth century peepshows have presented the viewer with a different way to look at art. Traditional art often uses direct reflected light and static compositions to help transmit an idea to the viewer whereas peepshows use a wide range of techniques such as transmitted light, mirrors, illusions, etc to help the viewer interpret a work. Panorama boxes appeared in the eighteenth century and gave the viewer extended views of life in cities or important events, for example. They were also small inventions used for simple amusement in one's daily life. This paper reviews the conservation of a type of nineteenth-century panorama box called a ‘Myriopticon’ that recounts important events during the American Civil War. The paper also takes a brief historical look at the development of the panorama box and some of their more interesting designs.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129294990","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 Problem of Light in Duke Humfrey's Library","authors":"S. Pugh","doi":"10.1080/03094227.2000.9638424","DOIUrl":"https://doi.org/10.1080/03094227.2000.9638424","url":null,"abstract":"Summary Duke Humfrey's Library is a building of architectural importance, with a dual function as a storage area for historic printed book collections and as a reading room for manuscript and reference material. Following an outbreak of death-watch beetle, new measures of light control were installed whilst other remedial building work was in progress. The windows were of complex design, with intricate stone tracery and leaded lights. After some research into alternative methods of light control, the glass was fitted with UV filters, and blinds of a translucent mesh fabric were installed on all but the largest window. Fixed panels of the same fabric were fitted to the stone curved heads of the windows. New artificial lighting was introduced to improve the ambient lighting and to provide better task lighting for readers. The new measures would need to be evaluated to see if they were effective.","PeriodicalId":243922,"journal":{"name":"The Paper Conservator","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126799065","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}
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