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1.
《文物保护研究》2013,58(4):267-280
AbstractThis project examines the lightfastness of prints created with the most commonly used digital technologies (inkjet, color electrophotography, dye sublimation and digital press) along with prints created using traditional technologies (color photography, black-and-white electrophotography and offset lithography). The inclusion of traditional prints provides benchmarks for collection care professionals to better gauge the significance of the results. In this study, prints were subjected to two types of lighting used independently to simulate daylight through window glass and artificial indoor illumination. Five aspects of light damage were assessed: fade in the mid-tone neutral, fade in the darkest neutral tone, paper yellowing, changes in paper gloss and text readability. In general, digital prints were less sensitive to light than traditional prints; but each digital printing technology produced at least one sample that performed worse than its traditional benchmark in at least one of the aspects of light damage studied. Therefore, it is recommended that cultural heritage institutions strive to provide the most benign environment possible, taking display practices currently in use for traditional prints as a minimum starting point for the care of digital prints. Close monitoring for signs of change is also recommended. 相似文献
2.
《文物保护研究》2013,58(3):167-178
AbstractA photograph may be lined when its physical condition is so poor that an additional support is necessary to ensure its survival. Photographic prints may comprise a number of layers, often composed of dissimilar materials that react differently to moisture. As most traditional lining methods involve the use of water, lining can thus cause stresses within and between the various layers. These stresses are thought to exhibit as increased cracking of binder layers and increased curling of the photograph itself. This paper reviews the literature to date regarding the lining of photographs and examines possible future treatment pathways. From the literature, it would appear that the question of how best to line traditional photographic formats, such as albumen, collodion and silver gelatin prints, has not yet been answered. Standard water-based lining adhesives can cause damage to various types of traditional photographs. Heat and solvent-activated adhesives can also cause damage; however, they may allow better control over the physical changes that occur within some types of photographs during treatment. Further investigation of non-traditional adhesives for paper (e.g. waxes and synthetic polymers) is recommended. 相似文献
3.
《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
4.
《文物保护研究》2013,58(2):107-116
AbstractColour photographs are among the most vulnerable materials in archival collections, making the development of tools for assessment of their lifetime in storage of particular interest. However, for this to be possible it is necessary to have a holistic understanding of what affects the lifetime of an object. Based on the existing knowledge of the effect of environmental conditions and material properties on lifetime of prints, this work focuses on the determination of end-of-lifetime using a value-based psychophysical approach. This research, carried out using a series of stakeholder workshops, showed that while assessor background does not significantly affect the end-of-lifetime determination, the nature of the images does. Isochrones, curves linking points of equal lifetime at paired environmental conditions, are defined. Based on these, a practical photographic lifetime calculator is presented, integrating dose-response functions with end-of-lifetime considerations. This tool, based on stock modelling principles, allows collection managers to input material stability data about the chromogenic prints in their collection and then investigate the effect of environmental scenarios on the collection. A case study of a collection at The National Archives, UK is also presented. 相似文献
5.
《文物保护研究》2013,58(3):216-230
AbstractThe surfaces of acrylic emulsion (dispersion) paint films were investigated by atomic force microscopy (AFM), with supporting chemical information provided via infrared spectroscopy. The morphological and chemical features of the surfaces of a series of recently cast reference paint films were explored, including characterization of changes induced by exposure to water and mineral spirits. A portable in situ AFM system was also used to document the surfaces of acrylic emulsion paintings in Tate's collection. The complete and partial removal of migrated surfactant was successfully imaged alongside features arising from mechanical action. Differences in paint surfaces and migrated surfactant layers were observed in relation to pigment type, paint brand and exposure to accelerated ageing, in addition to applied wet surface cleaning treatments. The findings contribute to further understanding of the subtle changes occurring at acrylic emulsion paint film surfaces and are relevant to current debates on the removal/disturbance of original surface surfactant from these films through conservation treatment. 相似文献
6.
《文物保护研究》2013,58(3):176-188
AbstractIn the late 1800s, pictorialist photographers favored a diversity of photographic techniques, including the gum dichromate process. Sometimes superimposed over other photographic images such as platinum and silver prints, the gum dichromate process utilizes a light-sensitive mixture of gum arabic, pigment, and a potassium dichromate solution hand-applied onto a sheet of paper and exposed to light while in direct contact with a negative. The definitive identification of this process has proven to be a challenge due to many variations and intermingling of techniques used by photographers of this period. This research began with a search through the historic literature, followed by the creation of test samples based on historic recipes, and the X-ray fluorescence analysis of these tests. The identification of pigments and the presence of chromium have been associated with the gum dichromate or other dichromated colloid processes in the past. Research results reveal that the presence of chromium may have more complex sources, requiring a more discriminating approach and a modified protocol for the identification of gum dichromate photographs. 相似文献
7.
AbstractA painting by A. Jorn on masonite board was badly damaged by fire. It was impregnated from the back with an acrylic binder by means of vacuum. The blisters were then laid using a vacuum hot-table at 75°C, the introduced acrylic acting as adhesive. 相似文献
8.
Simona Raneri Jacopo Crezzini Simona Arrighi Francesco Boschin Ilaria Alfieri Germana Barone 《文物保护研究》2013,58(5):298-309
ABSTRACTThe surface texture of a stone represents a sensitive parameter in evaluating its conservation state. In monuments and sculptures, in fact, external agents continuously alter the appearance of stones, determining peculiar weathering patterns and modifying properties such as retention of water and particles, interaction with light, color, and finishing. The application of protective coatings also determines changes in surface appearance of a stone, usually evaluated and monitored by color change tests. Surface metrology methods offer the possibility to quantify these changes, evaluating the impact of external agents (natural, i.e. weathering, and artificially, i.e. protective coatings) on natural stones. In this research, we demonstrate the potential of surface areal measurements in describing the evolution of weathering processes and the effects of protective treatments on porous stone materials. The obtained results suggest that the extent of the modifications is related to the scale of observation (small- vs. large-scale undulations, i.e. roughness and waviness, respectively), with an overall increase of surface roughness as the weathering proceeds. Unexpectedly, coatings based on nanoparticle dispersions increase the topographic height parameters, due to the absence of a homogeneous film. 相似文献
9.
《文物保护研究》2013,58(4):217-226
AbstractMany natural and synthetic products have been used for the consolidation of paint layers, but none have been thoroughly tested for this application. This is apparent for most of the synthetic and semi-synthetic adhesives for conservation, many of which are pure polymer resins and dispersions adapted from other industries. They were not specifically formulated with the appropriate properties for conservation, nor do they take advantage of some of the more recent developments in adhesive technology. BEVA® 371 is unique among adhesives used for consolidation treatments, as it is a multi-component mixture and was designed specifically for the conservation field using the best technology available at the time. However, the main focus of the research was its application as a lining adhesive. Thus, optical properties and stability, specifically color stability, were not thoroughly evaluated even though some lining applications that were first recommended could have benefited from this type of investigation. This paper will discuss the development of BEVA® 371, the chemistry, and roles of each component, and address a practical concern about the tack behavior of its replacement formulation, BEVA® 371b. 相似文献
10.
AbstractUsing written accounts of observed methods and materials of Tibetan paintings as well as examination of numerous examples, the techniques of Tibetan paintings, especially paintings on cloth, are discussed. Brief mention is made of the regional styles of Tibetan painting, since the techniques used in the production of these paintings apparently vary throughout Tibet and China. Various types of supports are mentioned and analyses of the types of cloths are given. The preparation and materials used in the ground, pigments and preliminary drawings and prints are discussed. The iconometrics of Tibetan painting are mentioned, since the total conception of the object is dependent upon them. 相似文献
11.
《文物保护研究》2013,58(1):33-54
AbstractThe final report on the Canadian Conservation Institute's poly(vinyl acetate) and acrylic adhesive research is given after 25–27 years of dark aging and 12–15 years of light aging. A total of 27 poly(vinyl acetate) and 25 acrylic adhesives were tested for pH, volatile emissions (mostly acetic acid), flexibility, strength, and yellowing after aging. In 1996, the work was first published after three to five years of aging data had accumulated. Measurements for pH, yellowing, strength, and flexibility were recently repeated again and these results are reported here. These new data points are reported to provide insight into the effect of these longer aging periods on the products included in the study. As well, the most stable (according to set criteria) poly(vinyl acetate) and acrylic adhesives tested are revealed, which, except for a few products, do not differ greatly from those reported in 1996. 相似文献
12.
《文物保护研究》2013,58(4):299-314
AbstractInstrumental-based color matching using non-destructive reflection spectrophotometry can be used as an aid in pigment selection for inpainting. This is useful when metamerism is of concern, particularly in modern art where the number of colorants available to artists and conservators is quite large. Simplified methods have been developed for art conservation where a single tint of each pigment mixed with white is required to define a pigment's optical properties based on the single-constant form of Kubelka-Munk (K-M) turbid media theory. Theoretically, this simplification can lead to errors in pigment selection for dark colors and colors not containing a white pigment. Instead, the two-constant form of K-M theory can be used where the model assumptions more closely match the optics of inpainting materials. The two methods were compared using four acrylic emulsion paints with a range of pigment absorption and scattering properties. It was found that the simplified method was inadequate for paints with appreciable and spectrally selective scattering, and as a consequence, pigment selection may result in a greater number of pigments than actually required. It was also found that only two samples per pigment were required to implement the two-constant technique: the mass tone and a tint. 相似文献
13.
14.
AbstractThe history of the production of electrotype copies is discussed in the context of the Victorian demand for reproduction of art of all kinds utilizing plaster of Paris, photographs, copies of old prints, as well as electrotypes, predominantly of copper. The philosophical reasons for the valuing or devaluing of electrotype and other copies are discussed. Electrodeposition of metals was used for an extraordinary number of different purposes in the Victorian period, and the general craze for electrotypes made their production very popular, being produced by men and women alike of many different backgrounds. By the Edwardian era, the need had subsided and an art historical reaction to the concept of copies had begun, with photography becoming more common. Examples of the use of electrotypes for photographic tinthotypes, as well as forgeries, discovered during conservation assessment at the Getty Museum on a plain Roman cased mirror which had been augmented by an electrotyped profile head addition, and samples from electropatterns from the collections of the Victoria & Albert Museum in London, are discussed in terms of the range and type of microstructural morphology displayed by electrotype copies. 相似文献
15.
《资料收集管理》2013,38(4):51-59
Abstract Visual ephemera is everyday materials of a transitory nature, rarely saved, which have a significant visual component. Postcards, movie posters, music concert posters, calendars, and illustrated brochures are examples of visual ephemera. Preservation issues related to visual ephemera include paper hydrolysis, clay coatings, chemically aggressive inks, photographic disintegration, and damage by mold, photo-oxidation, air pollutants, and improper handling. Conservation issues related to visual ephemera include paper repair, cleaning and stain removal, deacidification, and funding for conservation work. 相似文献
16.
《文物保护研究》2013,58(4):161-169
AbstractA very moderate, non-destructive radioactivation of oil paintings, induced by thermal neutron bombardment, such that approximately only one in 1012 of the atoms comprising any painting is transformed into a radioactive species, has been found to produce temporary radioactivity sufficient to expose photographic film placed in direct contact with the paintings.The resulting autoradiographs resemble conventional X-radiographs in that they reveal structural details in depth of both the painting and its support. Since the radioactivities arising from the different elements within a painting decay in different manners and at different rates, a series of significantly distinct auto radiographs can be obtained of any painting by making exposures through appropriate filters and at varying times following the original activation. Analysis of such a series of autoradiographs permits the identification of a number of the pigments used in a painting, together with information about the manner in which they were originally laid down by the artist and their distribution throughout the body of the painting.Preliminary investigations have shown that the stability of oil paintings is unaffected by the activation procedure. The inherently necessary radiation dose absorbed by a painting as a result of activation sufficient for autoradiography is of the order of 50 rads. Paintings subjected to absorbed doses one hundred times as great as the dose necessary for autoradiography exhibit no changes in color, hardness, flexibility and solubility three years after their original activation. 相似文献
17.
ABSTRACTLight sensitive objects will fade on display. Collection managers and curators face the dilemma whether to spread fading over several similar objects or sacrifice one. This paper describes an experiment in which participants were asked how they would want to pass on a collection of seventeenth century hand-coloured maps to coming generations. Results show that while colour changes are hardly visible, both public and professionals do not perceive them as damage and prefer to spread fading. Once fading becomes clearly visible in all maps, the preference shifts to sacrificing one map. The tipping point lies around five just noticeable changes. This information can be used when selecting objects for exhibition. The outcome also implies it would be prudent to assess the degree of fading of much exhibited objects and consider whether and when to choose for a sacrifice strategy. 相似文献
18.
《文物保护研究》2013,58(2):76-91
AbstractThe study focuses on the range of pigments and media that the Italian artist Lucio Fontana (1899–1968) employed for selected works dating between 1949 and 1968. Samples were taken from ten groups of works, all on canvas support, as well as from painting equipment that survived in the artist's former two studios. Techniques of analysis used were pyrolysis-gas chromatography–mass spectrometry for media identification, and laser desorption ionization time-of-flight mass spectrometry and Raman microspectroscopy for pigment identification. Fontana's reputation as a daring and experimental artist, best known for his group of slashed paintings called tagli, is seen to correspond with certain unusual material choices he made. The study also points to several links that exist between seemingly unrelated cycles. These links are, among others, based on experiences with in part novel media such as oil, alkyd, polyvinyl acetate, acrylic, acrylic–vinyl, and mixtures of them. With regard to pigments, the selection of samples showed that they were mostly of a synthetic organic nature. 相似文献
19.
《文物保护研究》2013,58(4):156-158
AbstractFramed and glazed prints have been found to yellow rapidly when on exhibition. It was found that the frames all contained the fungicide thymol. Experimental work has shown that the discoloration is caused by photoxidation. The discoloration was present in the paper and in the polymethyl methacrylate glazing. Mass spectroscopy has revealed the presence of a polymer of thymol; there was no evidence for the expected oxidation products. 相似文献
20.
《文物保护研究》2013,58(4):228-238
AbstractA procedure for collection of decay rate data from stone samples exposed in actual environmental conditions is described. This provides precise weekly decay rate data. Data were collected for 16 consecutive months for 200-year-old weathered and freshly quarried Portland stone. Problems with the use of an acrylic sheet as a control were encountered and overcome. It is suggested that glass is a better control surface. Decay rates of new and old stone differed, with new stone typically being 60–70mg/m2/day. Close agreement was found between new stone replicates. Rates for old stones were much more variable and ranged from 90–270mg/m2/day. Differences were also found in the relative contributions of solution and particulate loss to total loss between the two stones. 相似文献