The care of prints and drawings 2nd

Free ebooks ==> www.Ebook777.com www.Ebook777.com Free ebooks ==> www.Ebook777.com The Care of Prints and Drawings www.Ebook777.com American Association for State and Local History Book Series Series Editor Russell Lewis, Chicago History Museum Editorial Advisory Board Anne W Ackerson, Leading by Design William Bomar, University of Alabama Museums Jessica Dorman, The Historic New Orleans Collection W Eric Emerson, South Carolina Department of Archives and History Tim Grove, National Air and Space Museum Laura Koloski, Pew Center for Arts & Heritage Jane Lindsey, Juneau-Douglas City Museum Ann E McCleary, University of West Georgia Laurie Ossman, Preservation Society of Newport County Sarah Pharaon, International Coalition of Sites of Conscience Laura Roberts, Roberts Consulting Sandra Smith, Heinz History Center Kimberly Springle, Charles Sumner School Museum and Archives Will Ticknor, New Mexico Department of Cultural Affairs William S Walker, Cooperstown Graduate Program, SUNY Oneonta Staff Bob Beatty, AASLH Charles Harmon, Rowman & Littlefield Publishers About the Series The American Association for State and Local History Book Series addresses issues critical to the field of state and local history through interpretive, intellectual, scholarly, and educational texts To submit a proposal or manuscript to the series, please request proposal guidelines from AASLH headquarters: AASLH Editorial Board, 1717 Church St., Nashville, Tennessee 37203 Telephone: (615) 320-3203 Website: www.aaslh.org About the Organization The American Association for State and Local History (AASLH) is a national history membership association headquartered in Nashville, Tennessee AASLH provides leadership and support for its members who preserve and interpret state and local history in order to make the past more meaningful to all Americans AASLH members are leaders in preserving, researching, and interpreting traces of the American past to connect the people, thoughts, and events of yesterday with the creative memories and abiding concerns of people, communities, and our nation today In addition to sponsorship of this book series, AASLH publishes History News magazine, a newsletter, technical leaflets and reports, and other materials; confers prizes and awards in recognition of outstanding achievement in the field; supports a broad education program and other activities designed to help members work more effectively; and advocates on behalf of the discipline of history To join AASLH, go to www.aaslh.org or contact Membership Services, AASLH, 1717 Church St., Nashville, TN 37203 The Care of Prints and Drawings Second Edition Margaret Holben Ellis ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London Free ebooks ==> www.Ebook777.com Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2017 by Rowman & Littlefield All rights reserved No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Names: Ellis, Margaret Holben, author | American Association for State and Local History, issuing body Title: The care of prints and drawings / Margaret Holben Ellis Description: Second edition | Lanham : Rowman & Littlefield, 2017 | Series: American Association for State and Local History book series | Includes bibliographical references and index Identifiers: LCCN 2016037045 (print) | LCCN 2016037498 (ebook) | ISBN 9781442239708 (cloth : alk paper) | ISBN 9781442239715 (pbk : alk paper) | ISBN 9781442239722 (Electronic) Subjects: LCSH: Prints—Conservation and restoration | Drasing—Conservation and restoration Classification: LCC NE380 E45 2017 (print) | LCC NE380 (ebook) | DDC 740.28/8—dc23 LC record available at https://lccn.loc.gov/2016037045 ∞ ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992 Printed in the United States of America www.Ebook777.com Contents List of Illustrations vii Acknowledgmentsxiii Introductionxv Supports for Prints and Drawings Conservation Problems Related to the Paper Support of Prints and Drawings 23 Conservation Problems Related to the Materials and Techniques of Prints 65 Conservation Problems Related to the Materials and Techniques of Drawings 87 Item-Level Collection Protection: Envelopes, Sleeves, Folders, Enclosures, Mats, Boxes, Frames, and Furniture 111 Preventive Conservation for Prints and Drawings 165 Basic Paper Conservation Procedures 201 Glossary223 Appendix 1: H  ow to Make Starch Paste and Methyl Cellulose Adhesive by Katherine Sanderson273 v vi Contents Appendix 2: S  uppliers of Paper Conservation Materials and Equipment Compiled by Catherine Lukaszewski279 Index285 About the Author 293 List of Illustrations Figure 1.1 As it ages, pith paper becomes brittle and easily shatters. Figure 1.2 Palimpsests can be evidence of incorrect transcriptions or recycled parchment. Figure 1.3 Parchment expands and contracts drastically with changes in relative humidity  Figure 1.4 Extreme dimensional changes of parchment can cause rubbing against adjacent pages when bound and contribute to eventual disruption of pigment layers. Figure 1.5 Detail of Figure 1.4 Abrasion of pigment in bound manuscript.9 Figure 1.6 This sheet of parchment has been damaged by hungry rodents and insects. 10 Figure 1.7 Storage in damp conditions will result in disfiguring mold growth and permanent damage  11 Figure 1.8 The structure of paper as revealed by scanning electron microscopy (X250); the granular powder is chalk. 13 Figure 1.9 Forming a sheet of paper using a porous wire-surfaced mold. 16 Figure 1.10 Removing the freshly formed sheet by pressing or couching it against a damp felt; another felt goes on top and the step is repeated until a stack or post of fifty sheets is built up. 17 Figure 1.11 The entire post is squeezed under fifty tons of pressure to expel most of the remaining water in the sheets. 18 Figure 1.12 The still damp sheets are separated from the felts and to dry. 18 Figure 1.13 If a less-absorbent paper is needed, one intended for writing ink, the paper is dipped into a warm bath of gelatin size. 19 vii viii List of Illustrations Figure 1.14 The finished dried sheets are inspected and graded for quality.19 Figure 1.15 One ream or five hundred sheets of finished paper. 20 Figure 2.1 Poor-quality pulp is an internal source of the overall deterioration of this paper. 31 Figure 2.2 A poor-quality window mat caused the line of discoloration that surrounds the platemark of this print. 33 Figure 2.3 Corrugated cardboard causes a characteristic striated pattern of discoloration when placed in contact with the verso of a work of art on paper. 34 Figure 2.4 Wood products, often used in framing, cause severe discoloration when placed in proximity to paper. 35 Figure 2.5 Rubber cement not only causes severe staining when applied to paper, but also loses tackiness as it ages. 36 Figure 2.6 Common household adhesives can cause discoloration when applied to paper. 37 Figure 2.7 Pulling off a window mat adhered directly to a work of art on paper inevitably results in damage Sections of the margins of this print have been pulled away. 38 Figure 2.8 Handy self-sticking tapes may save time, but usually cause damage to works of art on paper. 39 Figure 2.9 Aged “cellophane” tape darkens and dries out. 40 Figure 2.10 The “carrier” of the original “cellophane” tape shrinks as it ages. 40 Figure 2.11 Double-sided masking tape disfigured the recto of this print. 41 Figure 2.12 Rolled-up pieces of pressure-sensitive tape stained this drawing where they were attached on its verso. 41 Figure 2.13 Identification labels and stickers can cause staining from either their adhesives or their carriers or both. 42 Figure 2.14 Rust stains result from common metal fasteners, in this case, a tack. 43 Figure 2.15 In humid conditions, paper clips and staples easily rust and stain paper. 44 Figure 2.16 Liquids absorbed by paper often leave telltale tidelines in their wake. 44 Figure 2.17 Tidelines result from the absorption and movement of water in paper. 45 Figure 2.18 A tideline often follows the configuration of the absorbed water.45 Free ebooks ==> www.Ebook777.com List of Illustrations Figure 2.19 Long-term exposure to light has caused the paper of this print to darken  Figure 2.20 Storage in damp conditions will result in disfiguring mold growth and permanent damage  Figure 2.21 Foxing, as well as a mat burn, disfigure this print  Figure 2.22 The term foxing refers to the small circular patches of reddish-brown discoloration that mysteriously appear on both old and modern papers for no apparent reason. Figure 2.23 When paper is prevented from expanding and contracting freely, buckling results. Figure 2.24 A large label on the reverse side – or verso – of this print has caused buckling  Figure 2.25 The overall adhesion of works of art on paper to poor-quality board can result in embrittlement and eventual breakage  Figure 2.26 A corner of this watercolor has been lost as a result of mounting it to cardboard that became brittle over time. Figure 2.27 Insect larvae create characteristic tunnels as they feed on paper  Figure 2.28 “Grazing” is caused by small insects, which feed on the surface of paper. Figure 2.29 Rodent droppings can be brushed away; however, their urine stains will remain in this book. Figure 2.30 A loss is a missing portion of the paper support, in this case caused by prolonged and repeated folding. Figure 2.31 A rupture is a break in the paper resulting in severed fibers in either a straight line (cut) or an irregular pattern (tear)  Figure 2.32 A “dog ear” is a diagonally folded corner of paper. Figure 2.33 Dents are a result of rough handling and poor storage. Figure 2.34 Folds and creases interrupt the central area of this design and also weaken the paper below. Figure 2.35 Skinning removes only a layer of the paper leaving it vulnerable to tearing and creasing in that area. Figure 2.36 The gradual accumulation of surface dirt and grime on this print is a symptom of poor handling. Figure 3.1 Oxidation of the linseed oil binder in the printing ink of a text caused the striated pattern of discoloration on this adjacent page. Figure 3.2 The use of a baren to rub the back of ukiyo-e prints during their production creates characteristic scribbly marks. www.Ebook777.com ix 47 49 50 51 53 54 55 56 57 57 58 59 60 61 61 62 62 63 67 68 280 Appendix • Light Impressions (matting and framing; archival presentation and storage) (800) 975-6429 www.lightimpressionsdirect.com • McMaster-Carr (hardware and hand tools) (609) 259-8900 www.mcmaster.com Nielsen Bainbridge Group (framing and framing products) (512) 506-8844 www.nielsenbainbridgegroup.com Tru Vue (assorted glazing options) (800) 282-8788 www.tru-vue.com United Mfrs Supplies (matting, glazing and framing materials, incl hardware) (800) 645-7260 www.unitedmfrs.com MATERIALS AND FURNITURE FOR ORGANIZATION, STORAGE, AND DISPLAY • Archival Methods (archival storage and presentation products) (866) 877-7050 www.archivalmethods.com • Archival Products (archival enclosures) (800) 526-5640 www.archival.com • Archivart (archival products for exhibition, storage, and general care) (888) 846-6847 www.archivart.com • Brodart (library supplies, equipment, and furnishings) (888) 820-4377 www.shopbrodart.com • Crystalizations Systems, Inc (standard and custom storage systems) (631) 467-0090 www.csistorage.com • Custom Manufacturing, Inc (custom-made archival boxes) (607) 569-2738 www.archivalboxes.com • Delta Designs, Ltd (standard and custom storage solutions) (785) 234-2244 Appendix 2 281 www.deltadesignsltd.com • Demco (archival storage supplies; library supplies, and furniture) (800) 356-1200 www.demco.com • Gaylord (supplies and furniture for archival storage/installation/display) (800) 448-6160 www.gaylord.com • Hollinger Metal Edge (archival storage accessories and furniture; asstd supplies) West Coast: (800) 862-2228 or East Coast: (800) 634-0491 www.hollingermetaledge.com • Keep Filing (archival storage accessories) (618) 912-4466 www.keepfiling.com • The Library Store (archival storage supplies; library supplies, and furniture) (800) 548-7204 www.thelibrarystore.com • Print File (archival accessories for storage and display) (800) 508-8539 www.printfile.com • SmallCorp (standard and custom products for display and storage) (800) 392-9500 www.smallcorp.com ENVIRONMENTAL CONTROL AND MONITORING • Art Preservation Services (assorted equipment and supplies) (718) 786-2400 www.apsnyc.com • The IMC Group Limited (calibration, data logging and monitoring systems) www.the-imcgroup.com +44 (0) 1462 688078 U.S Distributors: Cascade Group Inc www.cascadegroupinc.com (800) 800-0588 Masy BioServices www.masy.com (978) 433-6279 {{ {{ 282 Appendix • Keepsafe Microclimate Systems (microclimate systems for storage and display) (800) 683-4696 www.keepsafe.ca • MicroDAQ (data loggers and other equipment) (877) 275-9606 www.microdaq.com • NoUVIR (ultraviolet- and infrared-free lighting) (302) 628-9933 www.nouvir.com • Onset (HOBO data loggers) (508) 759-9500 www.onsetcomp.com • T & D Corporation (data loggers) www.tandd.com North America distributors list (with telephone contacts): www.tandd.com/about_tandd/contactus/north_america.html • Test Equipment Depot (new and used equipment) (800) 517-8431 www.testequipmentdepot.com DOCUMENTATION AND IMAGING • Adorama (photography and lighting equipment and accessories) (800) 223-2500 www.adorama.com • B&H (photography and lighting equipment and accessories) (800) 606-6969 www.bhphotovideo.com • Robin Myers Imaging (color targets; gray cards) (925) 519-4122 www.rmimaging.com General Supplies for Paper Conservation Procedures • Conservation by Design (materials/tools/supplies; storage/display furniture) +44 (0) 1234 846300 [North America distributor: (770) 279-5302] www.conservation-by-design.com • Conservation Resources Int’l (conservation tools and supplies; archival storage) (800) 634-6932 www.conservationresources.com Appendix 2 283 • Conservation Support Systems (conservation and storage supplies; equipment) (800) 482-6299 www.conservationsupportsystems.com • Dick Blick (art supplies) (800) 828-4548 www.dickblick.com • Electron Microscopy Sciences (chemistry; laboratory supplies and equipment) (215) 412-8400 www.emsdiasum.com/microscopy • Fisher Scientific (chemistry; laboratory supplies and equipment) (800) 766-7000 www.fishersci.com • Hiromi Paper International, Inc (assorted papers, specializing in Japanese) (866) 479-2744 store.hiromipaper.com • Kremer Pigments, Inc (art and restoration materials and supplies) (800) 995-5501 shop.kremerpigments.com • Micro-Mark (small tools) (888) 263-7076 www.micromark.com • MuseuM Services Corp (conservation supplies, chemicals, tools, equipment) (651) 450-8954 www.museumservicescorporation.com • New York Central (art supplies) (800) 950-6111 www.nycentralart.com • Polistini Conservation Material LLC (archival materials, tools, supplies) www.polistini.com (preferred method of contact: email, listed on website) • Preservation Technologies (deacidification and digitization products/ services) (800) 416-2665 www.ptlp.com • Schoolmasters Science (chemistry; laboratory supplies and equipment) (800) 521-2832 www.schoolmasters.com/science • Sigma-Aldrich (chemistry and labware) (800) 325-3010 284 Appendix www.sigmaaldrich.com/united-states.html • Talas (conservation and bookbinding supplies and tools; archival materials) (212) 219-0770 www.talasonline.com • University of Iowa, Center for the Book (repair papers, educational materials) (319) 335-0447 www.book.grad.uiowa.edu/store • University Products (materials, tools and equipment; archival storage and display; basic furniture) (800) 628-1912 www.universityproducts.com • Utrecht (art, presentation, and storage supplies) (800) 223-9132 www.utrechtart.com • VWR International (chemistry; laboratory supplies and equipment) (610) 386-1700 us.vwr.com/store Index References to images appear in italics AAM See American Alliance of Museums abrasion, 89, 137, 158; resistance to, 146; surface, 72, 94 acid migration, 23, 26 acid neutralization, 32 acrylic(s), 145–46; based fixatives, 94; dispersion paint, 107; glazing, 145–46; sheets, 95, 103, 145, 146, 148; and UV light, 145, 146 adhesives, 129; damage caused by, 40, 41; rubber cement, 36, 36, 56; Self-adhesive Post-It®, 169 See also methyl cellulose adhesive; paste; tapes AIC See American Institute for Conservation of Historic and Artistic Works AICCM See Australian Institute for the Conservation of Cultural Materials AKD See alkyl ketene dimer la poupée, 79 l’essence, 106 alkyl ketene dimer (AKD), 26 American Institute for Conservation of Historic and Artistic Works (AIC), 185, 217–18 aquatints, 69, 70, 81 American Alliance of Museums (AAM), 165 archival-quality supplies, 115 artworks: securing, 128–31; trimming, 124, 161n7 See also oversized artworks Australian Institute for the Conservation of Cultural Materials (AICCM), 185 baren, 68, 68 bleaching, 25, 30, 115 boards: acid-free, 121, 148; archival, 121; backing boards, 148; buffered, 121, 124; cedar shingles, 148; conservation, 121, 122; Coroplast®, 148; corrugated cardboard, 148; Fome-Cor® Board, 148; museum, 121, 124; rag, 115, 121; stiff papers, 106 See also mat boards; mounting boards 285 286 Index brads, 148–49 buckling, 5–7, 53, 53, 54, 54, 126, 128 buffering, 32 bumpers, 149–50 Canadian Association for Conservation of Cultural Property (CAC/ACCR), 219 Canadian Association of Professional Conservators (CAPC), 219 Cassatt, Mary, 93 Castiglione, Giovanni Benedetto, 74 cellulose, 14–16, 24; acetate film, 114; ethers, 92 chalks, 90; sanguine, 90 Chinese white, 104 chumino papers, 209 collections care program, xviii, 30–32, 64, 167; damage documentation and assessment, 194; disaster preparedness, 29, 165, 175, 191– 92; emergency response plan, 29, 165, 175, 191–92; environmental conditions protection, 178–89; fire detection and suppression systems, 177; gloves, use of, 169–70, 196n5; in-house transport of prints and drawings, 170; loan procedures, 170–74; off-site collections care manager, 175; pest management program, 190– 91; recovery (triage) priorities, 194–95; risk assessment, 167–68; safe handling procedures, 168–69; security considerations, 175, 178; storage facilities, 174–76; tracking systems, 176–77 collections care specialist, 217–19; and conservation treatments, 218–19; selection of, 218 collections management policy, 165–66 collections protection: boxes, 139–41; frames, 142, 142–50; interleaving paper, 138–39; mats, 120–24; oversized works, 153–56; paper-based storage materials, 115–16; polyester envelopes and sleeves, 112–13; securing artwork, 128; slip sheets, 138–39; storage, 158–61 colorants, organic, 102: aigami, 79; alizarin, 102; beni, 79–80; gamboge, 102; madder, 102; sap green, 102; van dyke brown, 102 colored pencils, 95 conte crayon, 90 conservation, preventive, xviii, 219; definition, 166; goals of, 167; proactive attitude of, 166 See also collections care program conservators, 217; and conservation treatments, 218–19; selection of, 218 copy pencils, 92–93 corners, 135, 135–36 cotton, 13–15 Crayola®, 87, 95 crayons See specific types creases, 30, 62, 63, 207; of tissue paper, 139 Currier and Ives, 79, 87 deacidification, 217 See also pH Dead Sea Scrolls, Degas, Edgar, 74–75, 93, 106 degeneration See paper, conservation problems Descriptive Terminology for Works of Art on Paper (online), 65 Dexter®, 127 The Digital Print (Jürgens), 77 disaster preparedness See collections care program drawing media, conservation problems with, xvii–xviii; dry, 88–96; unusual, 107; wet, 96–107 drawings, conservation problems, xvii; chine collé prints, 69, 77–78; digital prints, 75–77; intaglio prints, 69–72; planographic Index prints, 70; relief prints, 66–69; stencil prints, 75 drawings, environmental conditions, 178–89; air pollution, 179–82; humidity fluctuations, 183–85; light and overexposure, 186–89; mold growth, 185–86; radiant energy and overexposure, 186–89; temperature fluctuations, 182–83 drawings, lending: couriers, 174; handling of items, 174; packing and transport, 173–74; preloan procedures, 170–72; travel frames, preparation, 173 drawings, on prepared paper, 88–89 drawings, tracking systems, 176–77 drawings, types of: chalk, 89–92, 94–95, 112, 139, 203; charcoal, 89–92, 94–95, 112, 139, 203; graphite, 89–92, 94–95, 112, 139, 189, 203 See also metal points; pastel drawings; watercolors drypoints, 69 Dürer, Albrecht, egg tempera, 103 embossing, 67, 70, 71, 71 An Emergency Cart for Salvaging Water-Damaged Objects (National Park Service), 192 See also water damage emergency preparedness See collections care program encapsulation, 113–14; cellophane, 114; method, 113–14; Saran Wrap®, 114; supplies for, 113 enclosures, 117; four-flap construction, 117–18, 118; polyester, 112; standard sizes of, 111–12 engraving(s), 69–70, 126 See also platemarks environment See collections care program; drawings; prints etchings, 69–70, 78, 126 See also platemarks 287 Ethafoam®, 141, 159, 161 FAIC See Foundation of the AIC fillets, 143–44 Filmoplast SH®, 128 filtration, 187 fingerprints, 30, 63, 89 fire See collections care program fixatives, 93–94 flaking, 89, 103 flattening of items: key to success, 216–17; procedure, 214–15; repaired items, 216; rolled items, 212–14; works in watersensitive media, 215–16 folded hinges: applying, 132–33; construction of, 131, 131–33; paste for, 132; supplies, 131–32 folders, 115, 116; construction of, 116–17; supplies for making, 116; Teflon®, 117, 128, 132–33 folds, 30, 59, 61, 62, 63, 207 Foundation of the AIC (FAIC), 219 foxing, 48–50, 50, 51, 51 framed works, storing, 158–60 frames, 142, 142, 143–50; anoxic, 151; commercial, 151; prefabricated, 112; recycled, 144; sealed, 150; travel, 173 framing: handling and, 153–56; materials, 112 See also unframing procedures Gauguin, Paul, 68 General Facility Report, 171, 196n10 Giclée®, 77 glass: antireflective, 145; and glazing, 144–45; nonglare, 145; “weeping,” 145; yellow, 161n12 glazing, 130, 147–48, 173; acrylic, 145–46; glass, 144–45; nonreflective, 146; polycarbonate, 146; polystyrene, 146; and UV radiation, 147 gloves, 169–70 288 Index graphite pencils, 91 grazing See insect damage haloing, 75 Handbook of the American Society of Heating, Refrigerating, and Air-Conditioning Engineers (ASHRAE), 179 heightening, 87 hinges: carrier, 129; importance of, 129; supplies, 130–31, 131; “T,” 134; tab, 134 See also folded hinges; pendant hinges Hollytex®, 133, 212 Homer, Winslow, 4, 25, 69 humidity: and conservation issues, 27–28, 121; stains, 183 See also relative humidity humidity chamber, 213–14 hydrogen bonding, 15 hydrogen sulfide, 104 inks, 96–100, 189; bister, 97, 100; brown, 97, 189; carbon black, 97; Chinese, 97; colored printing, 79–80; India, 97; iron gall, 87, 97–98, 99; oil-based, 75; in relief prints, 67; sepia, 97, 100; sumi, 97 insect damage, 10, 28, 57 interleaving papers, 138–39 International Group of Organizers of Large-Scale Exhibitions (The Bizot Group), 185 IRIS®, 77 Jade 403®, 144, 149 Japanese gampi paper, 69 Japanese papers, 129–30 Japanese ukiyo-e prints See ukiyo-e prints Jazz series, 75 Keller, Friedrich Gottlob, 14 kizukishi papers, 130 kozo, 130, 161n8 lamination, 114 lead-based pigments, 104 lead white, 104 lending prints and drawings: couriers and handling of items, 174; packing and transport, 173–74; pre-loan procedures, 170–72; preparing travel frames, 173 Lepeltier, Robert, 59–60 lignin, 24 linen, 15 Liotard, Jean Etienne, 4, 91 lithography, 72–74, 76, 80 Marvelseal®, 160 Masonite®, 23, 27, 36, 158 mat boards, 115–16; acidic, 122; archival quality, 122–24; back, 120; buffered, 114; color of exposed edge, 122; cost of, 124; discoloration, 122–23; fourply, 124; museum, 124; pH of, 123; plies, 122; rag, 124; tear direction and strength, 123; wood pulp, 122 See also mats mat cutters, 127 Matisse, Henri, 75 mats, 120–28; aesthetic role of, 121; construction of, 124–25, 125, 126–28; “French,” 122; height and width of design area, 126; ideal materials for, 121; “sink,” 128; standard format, 120, 125– 26; supplies for, 124; template, 125; window, 120, 126–27 medium-density fiberboard (MDF), 158 Melinex®, 94, 103, 112 metalpoints, 88–89, 189 methyl cellulose adhesive, 92, 132; Methocel A4C®, 276; Methocel A15C®, 276; Methocel A4M®, 276; procedure for making, 276–77; storage of, 277; using, 277 Index mezzotints, 69 microbiological attack See foxing mildew See mold mino-gami, 130 mission statements, 165 mold, 11, 47, 49, 49, 50–51; protective gear, 48 molding, 143 monotypes, 74 mounting boards: acid-free, 121; archival, 121; conservation, 121 Munch, Edvard, 68 Museum Security Network, 178 newsprint, 25 Oddy test, 181–82 oil paints, 75, 106 oil stick, 96 okiwara papers, 130, 209 Optivisor®, 203 oversized artworks: framing, 153–56; handling, 153–56; storing of, 160–61 oxidized oil, 75 ozone, 179–80 paints See specific types paint stick, 96 Paintstik®, 87, 96 palimpsests, 5, paper, xix; characteristics of, 12; buffered, 114; origin of, 12; pH of, 123, 217; rice, 2, 20n2; short-lived, 25; structure of, 13 See also insect damage; paper, conservation problems; paper, deformation of; paper, discoloration of; rodent damage; paper, structural and surface damage; papermaking; proto-papers; specific types paper, colored, fading of, 46–47 paper conservation materials and equipment, suppliers of, 279–84 289 paper, conservation problems, xvii, 23–29; acidity, 26–27; air pollution, 27, 179–80; darkening, 30, 32, 43, 46; embossing, 178; embrittlement, 30, 32; external sources, 26–29; fading, 46; flatness, 54, 56, 58; foxing, 48, 49, 50, 51, 51; handling carelessly, 29; humidity levels and, 27–28; internal sources, 23–26; light and heat, effects of, 28; malfunctioning equipment, 29; mold, 47, 48; natural disasters, 29; residual processing substances, effects of, 25; temperature levels and, 27; unstable sizing, 25–26 See also insect damage; paper, deformation of; paper, discoloration of; rodent damage paper, conservation procedures: examination forms and templates, 204; examination area, 202–4; examination of prints and drawings, 201–2; flattening of rolled items, 212–14; overall flattening procedure, 214–15; photographic documentation, 205; repair of tears, 207–11; spot testing for water sensitivity, 211–12; surface cleaning, 205–7 paper, deformation of: acid neutralization, 32; buckling, 53, 53, 54, 54; buffering, 32; drumming, 53; localized, 53–54; overall, 52–53 paper, deterioration of, 24, 24, 31, 49 See also insect damage; paper, conservation problems; paper, deformation of; paper, discoloration of; rodent damage; paper, structural and surface damage paper, discoloration of, 32–43, 67, 122–23, 139, 203; color shift of 290 Index colored paper, 46–47; corrugated cardboard and, 34; darkening, 30–32, 43–46, 47; poor-quality mat board, 33, 33, 34; proportion of oil to pigment, 66; rust stains, 42, 43, 44; pressure-sensitive adhesive tape, 39, 39, 40, 40, 41, 41; wood products, 35 paper, flatness of, 54, 56, 58; mounting process and, 56, 56, 58 See also stains papermaker’s alum, 26 papermaking, 12–20; basic steps of, 15–16, 16, 17, 17, 18, 18, 19, 19, 20, 20; cellulose used in, 14–16, 24; couching, 16, 17; fibers used in, 13–14; less-absorbent paper, 17, 19; quality control, 18, 19 paper, sizing of, 15, 49, 115; agents, 26; alum-rosin, 30; gelatin, 25, 63n2; unstable, 23, 25–26 paper, structural and surface damage: adhesives, 38; creases, 59, 62, 63; dents, 61; dirt accumulation, 63, 63; “dog ear,” 61; folds, 59, 62, 63; paper loss, 59, 60; paper rupture, 60, 60; planar defects, 63; skinning impact, 58, 62, 63; surface defects, 59–60, 63–64 paper, structure of, 13 paper, types of See specific names parchment, xvii, 1, 3–10, 206; abrasion of pigment, 9; buckling issues, 5–7, 7; characteristics, 4; codex format, 4; conservation problems, 5–10; dimensional changes, 5–6, 7, 8; humidity, 5, 7, 9, 27–28, 184–85; insect damage, 10; longevity of, 4; material used for, 3, 5; mold growth, 11; popularity of, 4; printing on, 4; production of, 5; rodent damage, 10; works on, paste: directions, 274–75; equipment, 274; ingredients, 274; starch paste, preparation of, 132, 273; storage, 275; using, 275 pastel drawings, 89–92, 94–95, 112, 139, 203; humidity effects, 121; mold growth and, 47 pastel sticks, 91–92 pencils See specific types pendant hinges, 131; corners, applying, 135–36; edge strips, 136–37; supplies, 133–34 Perkin, William, 80 Permalife®, 136 pest management, 58 See also insect damage; rodent damage pH, 123; Abbey pH Pen®, 123; acid free, 115; and adhesives, 129; cellulose and, 24; and deacidification, 217; indicator strips, 123; Lineco pH Testing Pen®, 123; and mat boards, 116; and storage papers, 116 Photographic Activity Test (PAT), 116 photogravures, 69 Picasso, Pablo, 4, 25 platemarks, 70, 71, 71, 72–73, 73; cracked, 72; in intaglio prints, 71, 74; reinforcement of, 72 Pliny the Elder, 90 plywood, 158 points, 148–49 polyester film, 112 polymers, 14 polystyrene, 146 poster paints, 103–4 printing, types of: dot matrix, 75; electrographic, 75; electrophotographic, 75; electrostatic, 75; impact, 75; ink-jet, 75; piezoelectric, 75; thermal, 75; thermographic, 75 prints, xvi; color prints versus colored prints, 78–81, 81, 82; tracking systems, 176–77 Index prints, conservation problems, 65–66 prints, environmental conditions, 178–89; air pollution, 179–82; humidity fluctuations, 183–85; light and overexposure, 186–89; mold growth, 185–86; radiant energy and overexposure, 186–89; temperature fluctuations, 182–83 prints, lending: couriers, 174; handling of items, 174; packing and transport, 173–74; pre-loan procedures, 170–72; travel frames, preparation, 173 prints, types of: blind embossed, 69; chine collé, 77–78, 78; digital, 75–77; glued China paper, 77; inkless intaglio, 69; intaglio, 69–72; planographic, 70, 72–74; silkscreen, 75; stencil, 75, 79 See also ukiyo-e prints; relief prints proto-papers, 1–3, 9; amate, 2; amatl, 2; artifacts on, xvi– xvii; bark, 2; palm leaves, 2; papyrus, 1; pith paper, 2, 2; rice paper, 2; tapa cloth, pulpmaking, 15–16 rags, 13–15, 25–26, 115, 190, 193 Réaumur, René Antoine Ferchault de, 14 recycled papers, 115 Reemay®, 133, 212 relative humidity, 5, 7, 26–27, 216; absorption of water vapor, 52; buckling issues, 52; deformation of paper, 52–53; effects of, 27–28; flaking issues, 103; frame contents, protection of, 150; mold growth and, 47–48; range for prints and drawing, 28; regulating, 171, 175, 182–85, 191; tempera and, 103 See also parchment, humidity relief prints, 66–69; inks used for, 67; technology for, 66–67; 291 woodcuts, used in, 68–69; wood engravings, used in, 68–69 Rembrandt, rice paper, 20n2; Tetrapanax papyrifer, xvii, rice starch, 132 rigid acrylic sheet, 148 rodent damage, 10, 28, 58, 58 rosin, 26 Scott, W M., 121 secondary support sheet, 138 sekishu paper, 130, 209 Senefelder, Alois, 74 sheets/sheeting See specific types silhouetting, 34 sizing, 17, 30; unstable, 25–26 skinning, 37 slip sheets, 138–39 Solander, Daniel Charles, 139 spacers, 143–44 spurs, 17 stains, 211, 214; adhesives, 37; cedar shingles, 148; at corners, 135; due to humidity, 183; embedded, 89; by erasers, 128; due to hinges, 134; identification stickers, 42; oil, 66, 89, 123; pressure-sensitive self-adhesive tapes, 37, 39–41; rubber cement, 36; rust, 42, 43, 44; by solvents, 137; tape, 37, 39–41; tideline, 41, 44, 45; water, 137, 152; wax, 66, 89, 123 static electricity, 90, 94 static-free rigid acrylic sheet, 95, 103 storage: boxes, 139–41; Bubblewrap®, 141; cabinets, 158; flat files, 157–58; furniture, 156–58; map cases, 157; museum quality, 156– 58; plan chests, 157; shelving, 157; solander boxes, 139–40 storage papers, 115–16 storage portfolios, 116–17; construction of, 118–19, 119, 120; supplies for, 118–19 292 Index strainers, 148–49 surface cleaning, 205–7; procedure, 206–7; tools and materials for, 205–6 synthetic polymer paint, 107 tapes: adhesive, 137–38; “archival,” 137–38; and dust covers, 149; “Scotch,” 37, 137, 154; water and, 137 See also adhesives tapes, brand names: Foil Back Frame Sealing Tape®, 147; 3M Preservation Tape (887)®, 147; Tyvek® tape, 147, 160; Velcro®, 117 tears, repair of, 207–11; Magic Rub®, 208; Mars Plastic®, 208; procedure, 208–11; tapes, 36–41; tools and materials for, 208 tempera, 103–4; sensitivity of, 189 temperature: and conservation issues, 27; fluctuations, protection against, 182–83 tengujo paper, 130, 209 Tenniel, John, 69 thymol, 29, 48, 186 tissues, 5, 12, 69, 77, 132, 206, 209; acid-free, 139; and creases, 139 titanium white, 104 Toulouse-Lautrec, 79 Tritheim, Johann, turn buttons, 148–49 tusche, 74 Tyvek® lining, 140 Tyvek® polyethylene sheeting, 95 ukiyo-e prints, 68, 79, 106; sensitivity of, 79, 189 ultra-violet See UV undiluted oil paint, 106 unframing procedures, 151–53 UV-filtering products, 146–48 UV radiation, 145, 161n12, 176, 178, 187, 189; and glazing, 147 vellum, See also parchment Vibert’s Fixatif, 179 vinegar syndrome, 114 wallpaper, 12, 180 washi, 129–30 watercolors, 56, 81, 100–102, 104, 172, 179; Dr Martin’s Synchromatic Transparent Watercolors®, 88, 101; and humidity, 121; mold growth and, 47; opaque, 75, 79, 102–3, 189; protection from light, 30, 79, 186; sensitivity of, 186, 189 water damage: containers, 193–94; general supplies, 192; light and power, 193; removing excess water, 192–93; safety supplies, 192; supports, 193–94; tools, 193; wrapping materials, 193–94 water sensitivity, testing for, 211–12 wax crayon, 95 wheat starch, 132 wood pulp, 14 X-Acto®, 203 Xerox® copiers, 93 zinc white, 104 About the Author Margaret Holben Ellis is the Eugene Thaw Professor of Paper Conservation, Institute of Fine Arts, New York University, where she teaches the conservation treatment of prints and drawings, as well as technical connoisseurship for art historians She also serves as Director, Thaw Conservation Center, The Morgan Library & Museum She is currently Vice President and Fellow of the American Institute for Conservation of Historic and Artistic Works of Art (AIC), Fellow of the International Institute for Conservation of Historic and Artistic Works (IIC), Accredited Conservator/Restorer of the International Institute of Conservation (ICON) Professional and academic awards have included the Caroline and Sheldon Keck Award (2003) for a sustained record of excellence in education, the Rutherford John Gettens Merit Award (1997) in recognition of outstanding service to the profession both conferred by the AIC, the Rome Prize, the first to be awarded to a conservator, from the American Academy in Rome (1994), and most recently (2015) a scholar’s residency at the Getty Conservation Institute She has published and lectured on artists ranging from Raphael and Titian to Pollock, Samaras, and Lichtenstein, and her research on artist materials is similarly far-ranging Her most recent publication is Historical Perspectives in the Conservation of Works of Art on Paper (2015) published by the Getty Conservation Institute She is a graduate of Barnard College (1975 B.A art history, magna cum laude, phi beta kappa) and the Institute of Fine Arts, New York University (1979 M.A art history; Advanced Certificate in Conservation) 293 Free ebooks ==> www.Ebook777.com www.Ebook777.com ... corners. The frame package. xi 125 131 135 142 Acknowledgments This second edition of The Care of Prints and Drawings is long overdue, but not because of drastic changes in the actual care of prints. .. editor Kathleen O’Brien The first 1987 edition of The Care of Prints and Drawing coincided not only with the birth of my sons, but also with the first of many classes of smart and talented paper conservation... challenging, it is to them – sons and students – that this book is dedicated Introduction The purpose of this revision of The Care of Prints and Drawings remains the same as the original 1987 edition