Looking behind Kelly’s helmetKubik, Maria E.
doi: 10.1179/bac.2006.30.1.001pmid: N/A
AbstractAs a result of a preliminary investigation into the materials used by Australian artists of the 1940s, new light was shed on the materials of Sidney Nolan. Nolan was part of a group of Melbourne artists known as the Angry Penguins, who shared patrons, subject matter and recipes for artists’ materials. New evidence was found by returning to original archival material previously only used for art historical purposes. Among other details, research revealed Nolan’s progression from oils through to Dulux and Ripolin and back again, and the possibility that he mixed his own colours using dyes. This development is set against a backdrop of wartime rationing, which forced many artists to make their own paints and supports, or resort to off-the-shelf material such as house paint. However, Nolan’s use of Ripolin and Masonite proves that imported and rationed materials could still be obtained and in fact were being used in large quantities in his Ned Kelly paintings.
Potential for human exposure to mercury and mercury compounds from hat collectionsMartin, Graham; Kite, Marion
doi: 10.1179/bac.2006.30.1.002pmid: N/A
AbstractMercury salts have been detected in a significant number of felted hats within the collection of the Victoria and Albert (V&A) museum. The most likely source of this mercury is as the sulfate product of the salts used in the preparation of the animal hair to enhance their felting properties. Two potential groups of user—the conservator and the curator/public— have been identified as being at risk. Qualitative analysis by energy dispersive X-ray fluorescence spectroscopy (EDXRF) has identified a wide date of manufacture of felted hats containing these salts and new quantitative analysis has shown that one hat contained 1% w/w mercury. At this level, it is necessary to label the hats with appropriate hazardous chemical warning stickers and to minimise handling. Care should be exercised when transporting or disposing of such hats.
Ultrafast lasers for conservation of heritage artefactsRode, Andrei V.; Baldwin, Ken GH; Wain, Alison; Delaporte, Philippe H
doi: 10.1179/bac.2006.30.1.003pmid: N/A
AbstractThe use of laser technology for cleaning heritage artefacts is gaining increasing interest both in Australia and overseas. Laser cleaning is a dry and contact-free process, which selectively removes contaminating dirt or coatings (including hazardous contaminants such as radioactivity and biological material), minimises mechanical and chemical disruption of historic surfaces and generates minimal waste. However, the disadvantage of current lasers for conservation is that their relatively long pulse duration allows heat and shock waves to travel into the substrate, potentially causing damage to historic surfaces. Different laser types are also needed to treat different materials, which limits the range of materials any one laser unit can treat. The femtosecond pulses used by ultrafast lasers however, are too short to allow heat or shock waves to travel into the substrate. They ablate very thin surface layers through a process known as non-thermal or non-equilibrium laser ablation. This allows highly controlled cleaning, does not affect the substrate material, and can be combined with real-time monitoring with a system such as Laser-Induced Breakdown Spectroscopy to analyse the ablated products and prevent damage to uncontaminated layers under the surface of an object. This paper describes the differences between conventional and ultrafast lasers, and outlines the aims of a new Australia Research Council project to develop the ultrafast laser technique for conservation
A preliminary investigation into the identification of adhesives on archaeological potteryNel, Petronella
doi: 10.1179/bac.2006.30.1.004pmid: N/A
AbstractThe successful removal of a failing adhesive from archaeological pottery is facilitated by its identification. The aim of the present study was to establish an analytical path for the identification of adhesives commonly found on archaeological pottery, using resources that would be accessible to a conservation laboratory in Australia. Consultation and research of literature established adhesives that were historically used to repair archaeological pottery. Analysis of control samples assessed a spectrum of analysis techniques (visual, chemical and instrumental). It was found that simple analysis methods such as appearance, UV fluorescence and solvent solubility, are useful for identifying natural products, such as shellac and animal glue; chemical spot tests allow identification of animal glues and cellulose nitrate; and Fourier transform infra-red aids with identifying the presence of additives and with differentiating between poly(vinyl acetate) and acrylic formulations. These observations from the control samples were used to develop an analytical path for identifying adhesives associated with archaeological pottery. This path was tested on adhesive samples obtained from three artefacts in the Cypriot Collection at the University of Melbourne. Five adhesive samples were identified to be based on either cellulose nitrate, poly(vinyl acetate) or an acrylic. These identifications showed the usefulness of the analytical path developed and allowed an assessment to be made of adhesive performance. However, this exercise also raised unexpected questions.
Micro X-ray diffraction for painting and pigment analysisLau, Deborah; Hay, David; Wright, Natasha
doi: 10.1179/bac.2006.30.1.005pmid: N/A
AbstractMicro-X-ray diffraction (Micro-XRD) offers many opportunities for non-destructive, in situ crystalline phase composition analysis of varied artworks. This paper discusses the application of this technique to paintings. Painting surfaces and cross-sections can be examined to characterise pigments and provide additional information complementary to existing investigative analyses, which often rely only on elemental information. This study was completed in three parts: proprietary tube paints were examined showing differences in pigment composition on the basis of paint quality; analysis of cross-sections from Tiepolo’s Banquet of Cleopatra provided information on ground layer composition; and a small panel painting was examined non-destructively by placement within the instrument. Through these examples the utility and versatility of the technique is demonstrated.
From ‘Lady in Black’ to ‘Art Students’: The story behind changing a frameSawicki, Malgorzata
doi: 10.1179/bac.2006.30.1.006pmid: N/A
AbstractThe original frame for the Phillips Fox painting the Art Students vanished in unknown circumstances many years ago. Since this time, the painting has been encased in a contemporary frame, which was historically and aesthetically unsuitable for the painting. In searching for an appropriate design for the frame of the Art Students, the frame on another painting by Philips Fox, Lady in Black, also in the collection of the Art Gallery of NSW, was closer examined. The painting, Lady in Black, would never again be exhibited due to irretrievable deterioration of the paint surface. However, the original frame, which surrounded Lady in Black, was in a much better state of preservation. The present paper tells the story behind adapting the frame from the painting Lady in Black to accommodate the Art Students. The ethical issues behind adapting a frame from one painting to another have to be treated seriously, as the frame has an enormous impact on the presentation of the artwork. In this particular case, however, this action was, in our opinion, fully justified and appeared more an act of salvation than destruction. Various required alterations, as well as conservation treatment of the frame, are described in detail.
Papers used in Japanese calligraphyTaylor, Travis
doi: 10.1179/bac.2006.30.1.007pmid: N/A
AbstractWhile within the conservation community there is a great appreciation of the materials used in Japanese calligraphy, I have found that there isn’t available information concerning the types of papers used, terminology and reasons artists choose certain materials over others. While having been fortunate enough to have studied Japanese calligraphy and paper conservation it is the intent of this paper to outline these factors for those working in the paper conservation field. As much of the information was gathered from my personal practice, and through conversation with retailers and calligraphers, this is not intended to be an authorative treatise, rather a personal account detailing the materials, papers and their uses.