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(Download PDF) Chemicals and Methods For Conservation and Restoration Paintings Textiles Fossils Wood Stones Metals and Glass No Front Cover 1St Edition Johannes Karl Fink Online Ebook All Chapter PDF
(Download PDF) Chemicals and Methods For Conservation and Restoration Paintings Textiles Fossils Wood Stones Metals and Glass No Front Cover 1St Edition Johannes Karl Fink Online Ebook All Chapter PDF
(Download PDF) Chemicals and Methods For Conservation and Restoration Paintings Textiles Fossils Wood Stones Metals and Glass No Front Cover 1St Edition Johannes Karl Fink Online Ebook All Chapter PDF
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Chemicals and Methods
for Conservation and
Restoration
Scrivene r Publishin g
100 Cummings Center, Suite 541J
Beverly, MA 01915-6106
Publishers at Scrivener
Martin Scrivener (martin@scrivenerpublishing.com)
Phillip Carmical (pcarmical@scrivenerpublishing.com)
Chemical s and Methods
for Conservatio n and
Restoration
Paintings, Textiles, Fossils,
Wood, Stones, Metals,
and Glass
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ácNv r
Scrivene
Publi
Publishing
WILE Y
This edition first published 2017 by John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, USA
and Scrivener Publishing LLC, 100 Cummings Center, Suite 541 J, Beverly, MA 01915, USA
©2017 Scrivener Publishing LLC
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Set in size of 1 lpt and Minion Pro by Exeter Premedia Services Private Ltd., Chennai, India
Printed in
10 9 8 7 6 5 4 3 2 1
Content s
Preface xiii
1 Painting s 1
1.1 Cleaning 1
1.1.1 Special Considerations 3
1.1.2 Oxalate-Rich Surface Layers on Paintings 4
1.1.3 Leaching 5
1.1.4 Removal of Dirt 5
1.1.5 Effects of Organic Solvents 7
1.1.6 Cavitation Energy for Solvent Mixtures 11
1.1.7 Hydrogels Based on Semi-Interpenetratin g
Networks 13
1.1.8 Organogels 14
1.1.9 Microemulsions and Micellar Solutions 15
1.1.10 Acrylic Paintings 15
1.1.11 Acrylic Emulsion Paintings 17
1.1.12 Complications in the Cleaning of Acrylic
Paint Surfaces 18
1.1.13 Poly(vinyl acetate) Paints 19
1.1.14 Surface Cleaning 21
1.1.15 Foxing Stain Removal 24
1.1.16 Vacuum Techniques 26
1.1.17 Laser Cleaning Removal 27
1.1.18 Atomic Oxygen Plasma for Removing Organic
Protective Coatings 35
1.1.19 Rigid Gels and Enzyme Cleaning 36
1.1.20 Cleaning Efficacy of Sponges and Cloths 38
1.1.21 Smart Cleaning by Soft Nanoscience 38
1.1.22 Plywood Panels 38
1.1.23 Waterborne Emulsion Polymer Paints 39
í
vi CONTENTS
1.2 Varnishes 41
1.2.1 Removability of Varnishes 41
1.2.2 Synthetic Resins for Varnishes 42
1.2.3 Ionic Liquids for Varnish Removal 45
1.2.4 Extraction of Soluble Components by a
Varnish Solution 45
1.2.5 Mastic and Megilp 46
1.3 Methods and Materials for Conservation 47
1.3.1 Microbial Contamination 47
1.3.2 Oil Paintings 49
1.3.3 Organic Materials 51
1.3.4 Poly(vinyl acetate) Paints 55
1.3.5 Pressure-Sensitive Adhesives 56
1.3.6 Microcrystalline Cellulose Composites 57
1.3.7 Nanoscience for Art Conservation 57
1.3.8 Consolidating Wall Paintings Based on
Dispersions of Lime in Alcohol 62
1.3.9 Hindered Amine Light Stabilizers 64
1.3.10 Enzymes 66
1.3.11 y-Radiation and Polymers 67
1.3.12 Partially Hydrolyzed Poly(vinyl acetate)
and Borax Gels 67
1.3.13 Restoring Paper Paintings and
Calligraphic Works 69
1.4 Analysis and Analytical Methods 70
1.4.1 Technical Analysis of Paintings 70
1.4.2 Nondestructive Acoustic Method 73
1.4.3 Surface Characteristics of Paint 74
1.4.4 Binding Media and Protective Coatings 76
1.4.5 Degradation of Films of Dammar Resin 77
1.4.6 Spectroscopic Techniques 78
1.4.7 Organic Mass Spectroscopy 80
1.4.8 Portable NMR 80
1.5 Forgeries 81
1.5.1 Image Analysis Tools 82
1.5.2 Correlation Filters 82
1.5.3 X-Ray Analysis 82
1.5.4 Contourlet Transform 83
References 84
CONTENTS vii
Textiles 95
2.1 TextileColors 95
2.1.1Historical Development of Colorants 95
2.1.2Classification of the Used Colorants 96
2.1.3Microanalysis of Organic Pigments in
Ancient Textiles 96
2.1.4 Analysis of Dyes 98
2.1.5 Organic Residue Analysis 99
2.1.6 Infrared Analysis 100
2.2 Textiles from Various Locations 101
2.2.1 Early Textiles and Textile Production in Europe 101
2.2.2 Natural Organic Dyes from Ancient Europe 102
2.2.3 Ancient Liturgical Vestment 103
2.2.4 Textiles and Dyes in Pre-Columbian
Northern Chile 104
2.2.5 Painted Andean Textiles 104
2.2.6 Textiles from the Silk Road 105
2.2.7 Historical Chinese Dyestuffs 106
2.2.8 Ancient Indonesian Textiles 108
2.3 Processing Methods 108
2.3.1 Ancient Chemical Processing of Organic
Dyes and Pigments 108
2.3.2 Color Preservation of Ancient Natural Dyes 109
2.3.3 Flavonols for Textile Dyeing 109
References 110
Archaeologica l Wood 113
3.1 Analysis Methods 113
3.1.1 Assessment of Commonly Used
Cleaning Methods 113
3.1.2 Predicting the Wood Preservation Status 114
3.1.3 Analytical Instrumental Techniques to Study
Degradation 116
3.1.4 Near Infrared Spectroscopic Observation of
the Aging Process 119
3.1.5 X-ray Computed Tomography for Anatomical
and Dendrochronologica l Analysis 119
3.1.6 Relationship Between Underwater Cultural
Heritage Deterioration and Marine
Environmental Factors 120
viii CONTENTS
x Fossils 149
4.1 Monograph 149
4.2 Paleontological Skill and the Role of the
Fossil Preparator 149
4.3 Analysis Methods 150
4.3.1 Bone Samples 150
4.3.2 Stable Isotope Analysis 151
4.3.3 Amino Acid Analysis 153
4.3.4 Ancient DNA 153
4.3.5 Dentin Layers 155
4.3.6 Evolution of Diseases 156
4.3.7 Paleodietary Studies 157
4.3.8 Electron Spin Resonance Dating 162
4.4 Conservation Methods 163
4.4.1 Interventive Conservation Treatments of
Pleistocene Bones 163
4.4.2 Large Fossils 163
4.4.3 Micropreparatio n 164
4.4.4 Reaction Adhesives for Fossil Preparation 166
4.4.5 Histological Core Drilling 168
4.4.6 Manual Centrifuge for Resin Casting 170
4.4.7 Interferences of Conservation Treatments with
Subsequent Studies on Fossil Bones 170
References 172
x Stones 177
5.1 Deterioration Processes 178
5.1.1 Biological Deterioration 178
5.1.2 Biological Colonization on Ceramics 181
5.1.3 Biofilm Formation 182
5.1.4 Bacterial Carbonatogenesis 183
5.1.5 Microflora on Building Stones 183
5.1.6 Patina Formation on Mineralic Rocks 184
5.1.7 Cyanobacteria 185
5.1.8 Microbial Deterioration of Sandstone 185
5.2 Analytical Methods 187
5.2.1 Analysis of Starch 187
5.2.2 Residue Analysis 188
5.2.3 Optically Stimulated Luminescence Dating 189
5.2.4 NMR Devices in Stone Conservation 190
× CONTENTS
This book focuses on the chemicals used for conservation and restoration
of various artefacts in artwork and archaeology, as well as special applica-
tions of these materials
Also the methods used, both methods for cleaning, conservation and
restoration, as well as methods for the analysis of the state of the respective
artifacts
The special issues covered concern:
• Oil paintings,
• Paper conservation,
• Textiles and dyes for them,
• Archaeological wood,
• Fossiles,
• Stones,
• Metals and metallic coins, and
• Glasses, including church windows.
The text focuses on the basic issues and also the literature of the past
decade Beyond education, this book may serve the needs of conservators
and specialists who have only a passing knowledge of these issues, but need
to know more.
Index
There are three indices: an index of acronyms, an index of chemicals, and a
general index In the index of chemicals, compounds that occur extensively,
xiii
xiv PREFACE
e.g., acetone, are not included at every occurrence, but rather when they
appear in an important context When a compound is found in a figure, the
entry is marked in boldface letters in the chemical index.
Acknowledgement s
I am indebted to our university librarians, Dr Christian Hasenhüttl,
Dr. Johann Delanoy, Franz Jurek, Margit Keshmiri, Dolores Knabl,
Friedrich Scheer, Christian Slamenik, Renate Tschabuschnig, and Elisabeth
Grofi for their support in literature acquisition In addition, many thanks to
the head of my department, Professor Wolfgang Kern, for his interest and
permission to prepare this text
I also want to express my gratitude to all the scientists who have care-
fully published their results concerning the topics dealt with herein This
book could not have been otherwise compiled In particular, I would like to
thank Dr Virág M Zsuzsanna for the provision of interesting details, which
were very helpful for the preparation of this book
Last, but not least, I want to thank the publisher, Martin Scrivener, for
his abiding interest and help in the preparation of the text In addition, my
thanks go to Jean Markovic, who made the final copyedit with utmost care.
Johanne s Fink
Leoben, 14th April 2017
Chemical s and Methods for Conservation and Restoration: Paintings, Textiles,
Fossils, Wood, Stones, Metals, and Glass. Johannes Karl Fink.
' 2017 Scrivener Publishing LLC. Published 2017 by John Wiley & Sons, Inc.
1
Painting s
1.1 Cleanin g
Historically, artists have protected oil painting surfaces with var-
nish. This is a system that allows the varnish to be brushed clean or
even washed relatively frequently to remove accumulated surface
dirt without exposing the paint to risk (1).
Unfortunately, mastic or other traditional soft-resin varnishes do
not last indefinitely. After a few decades the varnish becomes yel-
low and brittle, losing transparency, and the cleaning process is
transformed into the more challenging problem of removing the
degraded varnish directly from the painting surface.
Even when new, a varnish may change the appearance of a paint-
ing. The varnish increases the transparency of any partly coated
pigments or low refractive index medium, and also it imparts a new
surface, which is frequently glossy. Mostly, artists have accepted
such immediate changes in appearance for the future benefits of
protection from dirt and from the risks of dirt removal.
By the eighteenth and nineteenth centuries, when state acade-
mies controlled much professional painting practice, the need for a
varnish became important.
The concept of finish embodied many notions and became an un-
written contract of quality and reliability between academician and
purchaser of art. It seems likely therefore that professional artists
and their clients or patrons have always considered the application
of varnish as a necessity of permanence and that artists have chosen
to exploit its properties for both visual and practical benefit.
1
2 CHEMICALS AND M E T H O DS FOR CONSERVATION AND RESTORATION
Traditional recipes using potatoes and onions are well known (3).
Saliva is still considered effective. Many other materials have been
recommended, including borax and urine.
The varnish surface and, eventually, the body of the varnish dis-
integrate under the action of repetitive cleaning. Wax or poppy
oil coatings can be applied to impregnate the varnish surface to
extend its life, but opacity and yellowing may destroy its optical
qualities (3).
Perhaps two generations will have passed since anyone saw the
painting through a clear fresh varnish. The removal of a well-oxi-
dized mastic varnish from a thoroughly dried oil film using spirits
of wine has been carried out for centuries (5,6).
The chief was quite right about the road. It certainly was not good,
for it led us, to begin with, across an inundated plain, where we were
up to our knees in water for about a mile. It was also oppressively
hot, and the upper part of our bodies was as wet with perspiration as
our legs were with the mud of the marsh. It was with a sigh of relief
that we came to the rising ground where the road was better, except
for the steep and rough bit strewn with sharp flints. We had this kind
of thing for some four miles, and Taburet, who was toiling along
beside me, became the colour of a ripe cherry. Was this colour a
favourite one in these parts, I wondered? Anyhow our doctor made a
deep impression on the heart of one of the beauties of Tenda, who
had come to see us in our boats, and walked with us to the chief’s
village. It was a regular case of love at first sight, for she never took
her eyes off Taburet, offering him flowers and pea-nuts, and moving
the flints out of his way. It was a real idyll. I felt pretty sure of the
doctor’s power of resisting the blandishments of the syren, but still I
thought it was as well to remind him of the negro eunuchs, who, if he
did lapse from virtue, would be pretty sure to sew him up in an ox-
hide, and fling him into what answered here to the Bosphorus. We
arrived at Tenda laughing merrily, in spite of the condition of our
socks and boots, which, soaked through and swollen as they were
with the water we had shipped en route, hurt our feet dreadfully.
We had already been told that this village was the capital of
Dendi, but for all that its appearance greatly surprised us, for it is
surrounded with a tata nearly seven feet high, and at its base is a
moat no less than nine feet deep by four, twelve to fifteen feet wide.
Throughout the Sudan I had never seen any fortification to equal it in
the mass of material used. It is in an excellent state of preservation,
and the crest of the wall is covered with sharp thorns, forming a
regular chevaux de frise. It would be very difficult to take the place
even with artillery. I was delighted to see so formidable a stronghold
in these parts, and should the Toucouleurs who took Kompa try their
skill on it, they will have their hands pretty full.
The whole population came out to meet us, and when we entered
the village we found it had quite wide streets, which would have
been clean but for the tornado of the morning, which had filled them
with horrible mud. Splashed with dirt, like water-spaniels on their
return from a shooting expedition in the marshes, we were
introduced into an immense circular room, with a platform of earth at
one end, forming the audience chamber of the chief. On the royal
throne, or rather bench which represented it, was flung one of those
horrible carpets such as are sold in bazaars, representing a fierce-
looking tiger springing forward on a ground of a crude red colour,
giving a note of civilization, if of rather a comic kind, to the whole
apartment.
The chief now appeared, and turned out to be a very old but still
vigorous man. Instead of a sceptre, he carried a cane encased in
copper, and on the forefinger of the right hand he wore a ring, the
stone of which consisted of a silver disk nearly six inches in
diameter, quite hiding his hand. He sat solemnly down upon the
carpet with the tiger; and our beauty of the road, who, it turned out,
was his own daughter, took her place beside him, never ceasing to
cast languishing glances at Taburet throughout the interview. I now
spread out the presents I had brought, and set going a little musical-
box. The sound from the latter caused such an excitement that the
crowd outside managed to get into the audience hall, in spite of all
the efforts of the guard, who plied their whips vigorously, even on the
shoulders of the most beautiful of the besiegers. There was such a
noise that I had to shout at the top of my voice in telling the chief our
business; but it was all no use, I might as well have tried to play the
flute beside a sledge-hammer in full swing.
GIRRIS.
GIRRIS CANOES.