AIC Posters

 View Only
Back to Library

2025 Posters 

07-30-2025 10:16

Posters presented at the 2025 AIC Annual Meeting in Minneapolis, Minnesota.

Statistics
0 Favorited
133 Views
28 Files
0 Shares
112 Downloads
Attachment(s)
Download All
pdf file
Marcas de Fuego (Fire brands) from The Huntington’s Mexi...   1.73 MB   1 version
Uploaded - 09-11-2025
VERONICA MERCADO-OLIVERAS | Abstract: The conservation and digitization assessment of The Huntington’s Mexican Primeros Libros collection revealed that 15 out of 54 early Novo-Hispanic publications bear marcas de fuego—epigraphic or figurative marks burned into the edges of books with a hot iron tool. These irreversible branding marks, believed to have originated in the mid-sixteenth-century Viceroyalty of New Spain, were used to assert ownership and prevent theft. Marcas de fuego provide crucial insight into the provenance and ownership history of viceregal Novo-Hispanic collections, offering a glimpse into the fate of conventual and private libraries following their dissolution and nationalization in the nineteenth century. The conservator collaborated with the Catálogo Colectivo de Marcas de Fuego (CCMF), a digital platform dedicated to cataloging fire-branded printed works, to reconstruct fragmented viceregal collections worldwide. Following CCMF guidelines, Verónica employed a Nikon D810 with normal and raking illumination to photograph the firebrands, processing the images in Adobe Lightroom. She captured title pages, provenance notes (such as friar names and convent locations), and measured the firebrands in millimeters to aid identification. Data was compared against the CCMF database, revealing the provenance of the books, including the city, religious order, institution, and, in some cases, original owners. The survey revealed that 10 out of 15 books once belonged to the Franciscan Order. Fire brands were commonly placed at the head edge, a trend observed in The Huntington collection (7 books). Less common placements include the tail (3 books), the head and tail (2 books), and 1 on all three edges. Only one book had a fire brand on the title page. Five books bore marks that were either illegible or incomplete due to damage or binding alterations, leading to the intentional or unintentional loss of provenance. Forms of loss included charred fire brands (2 books), an incomplete fire brand (1 book), and faint marks obscured by gilding or trimming (1 book). This last finding suggests that firebrands were sometimes partially removed during rebinding, edge gilding, or trimming in the nineteenth and twentieth centuries, resulting in the physical loss of provenance information. Research from The Huntington’s acquisition records, supported by curatorial consultations, confirmed that these volumes were acquired between 1911 and 1926, with existing binding alterations, indicating that they were rebound before acquisition. These findings demonstrate that firebrands are essential for understanding the migration of early Novo-Hispanic printed works into local and international collections. This poster presents a protocol for book conservators to engage with CCMF, leveraging their expertise in photo documentation and the history of the book to identify distinctive features of Latin American bookbindings. The findings highlight the importance of documenting fire brands as pieces of information that contribute to the reconstruction of viceregal collections. Lastly, the research underscores the conservator's role as both an advocate and an active participant in establishing international partnerships.
 
Download
pdf file
The nanotechnology technique and its use in cleaning and ...   490 KB   1 version
Uploaded - 09-11-2025
MARIETTE AYAD | Abstract: The stone antiquities represent the largest percentage of the total antiquities found in Egypt which are represented by tombs, temples, pyramids, statues, and others and the inscriptions writings and mural paintings they carry of great importance therefore it is necessary to study them well in terms of knowing the type of stones, their nature, the wall pictures found in them and their components studying the factors and manifestations of damage affecting them, and the best modern methods that can be used in their restoration in order to achieve the best results to preserve this important and rare world heritage . in this research we will discuss the latest of these methods, which is the use ofnanotechnology in restoration which is one of the latest technologies used recently in various fields and then in restoration due to its extreme accuracy and because it is safer. We will discuss its application and show its results on some very important and distinctive wall painting that were found in the tomb ( KV20 ) of Hatshepsut and the tomb ( KV38 ) of Tuhuthmosis II. They date back to the early era of the 18th dynasty, which represents the first and primary source for the book ( Amy-Dawat ), which is the oldest royal book regarding the other world.
 
Download
pdf file
Investigating a Historic Treatment Material - Ainslie Ha...   4.04 MB   1 version
Uploaded - 09-11-2025
AINSLIE HARRISON | Abstract: Conservators at the Virginia Museum of Fine Arts (VMFA) recently came across a mysterious treatment material referred to as “Flecto” while they were re-treating a number of enameled jewelry and decorative arts objects in the collection. This material was used at the VMFA most frequently as a tinted fill material on damaged enamel work. A search of the conservation literature returned almost no references to Flecto, which is the name of a company that produced paints, wood finishes, and floor coating systems until they were purchased in 1998by Rust-oleum. Fortunately, a photocopy of an original product label was present in one of the object folders, revealing the full product name to be “Flecto Seamless Clear Plastic,” an acrylic resin in xylene. As a substantial amount of decanted “Flecto” remains in the lab’s chemical storage, additional analysis and accelerated aging tests were carried out to more fully characterize the material and its aging properties and to determine the potential long-term effects on the objects treated. A survey was also sent out to the conservation community in order to gauge how frequently and in what contexts this product has been used in the conservation field. We hope the results of this study will prove useful to other conservators and museum professionals who come across this historic conservation material.
 
Download
pdf file
My Journey in Darkroom Photography - Sophie Church   2.03 MB   1 version
Uploaded - 09-11-2025
SOPHIE CHURCH | Abstract: In the field of art conservation, understanding of an artist's chosen materials and their creative application is fundamental. This holds true for photograph conservation, where a profound grasp of the historic evolution and chemistry of photographic processes is crucial for discerning and identifying each technique. However, deeper learning is achieved through hands-on engagement in the darkroom. Delving into the intricacies of photographic processes not only unveils the technology, tools, and chemistry underpinning their production but also serves as an invaluable experiential learning tool. Darkroom practice enables observation and critical thinking about a photograph’s evolution from its initial creation to potential display, and how these factors influence its long-term preservation. It also facilitates an understanding of the differences between genuine deterioration and intentional alterations made by a photographer. Creating photographs in the darkroom can combine research into the history and chemistry of photography with research into photographers, studios, and businesses utilizing these techniques today. The sensitivities of different emulsions can also be experimented with and observed. The addition of toners or other chemical baths in the darkroom can be understood by seeing the change in color of a print and its stability over time. This immersive exploration equips conservators with a dynamic perspective that informs their decision-making in the outreach, preservation, and treatment of photographic materials. When creating albumen prints for example, the paper curls at all stages of production from the first application of the egg-salt mixture to the final wash bath. This demonstrates the inherent qualities of these prints and though we may consider curling damaging and work to keep the print flat, it is also an unavoidable part of the making process. While striving to maintain flatness, historically, albumen prints would be mounted to a paper board. This mounting process, though keeping the print from curling, could potentially introduce cracking in the emulsion over time. The tendency of the print to curl and potential cycles of curling and flattening demonstrate its sensitivity to moisture and the need for a stable environment and safe housing for long-term preservation. Additionally, through making albumen prints, the similarities to the salted paper print process are clearly identifiable. The recipes for chemical baths and steps in the darkroom are nearly equivalent. It is understandable why their identification might be challenging. Finally, the darkroom also serves as a platform for outreach, where sharing the art and science of photography through workshops and social media can enhance public understanding and appreciation of art conservation. This is increasingly important in an era when images are soeasily captured, duplicated, and distributed. Images to be included on the poster: • Creating albumen prints: fresh untoned print, fresh gold toned print, historic aged print • Creating additive color screen plates: results from experiment, diagram of the layers • Creating tintypes: the “negative” pre-fixer, final positive product • Creating gelatin DOP: contaminated fixer resulting in pink print • Outreach: social media- QR code to share, creating salted paper prints and leading workshops at SUNYBuffalo and WUDPAC photo block"
 
Download
jpeg file
An Experiment in Separating Oil-based Printing Ink from ...   2.17 MB   1 version
Uploaded - 09-11-2025
OPFERMAN | Abstract: Objects stuck to their glazing (or other materials) is not an uncommon problem in conservation. However, much of the literature regarding adherence to glazing focuses on photographs stuck to glass, and there is little to be found highlighting other circumstances. Thus, when tasked with separating thick oil-based printing ink from acrylic glazing, experimentation with novel removal techniques was required. Untitled (1983) by David Engel, in the collection of the Virginia Museum of Fine Arts, is an abstract etching and linocut on heavy wove paper. The linocut component consisted of several thick and textured layers of oil-based printing ink. Untitled had been float-mounted with wide margins onto a backing board and framed without a window mat or spacers to hold the acrylic glazing away from the media, resulting in parts of the topmost red ink layer becoming adhered to the acrylic. Raking light photography emphasized the areas of the ink that were stuck. A mechanical method was deemed the safest avenue for removal, due to the possibility of microcracks forming in the acrylic when exposed to solvents and since the margins surrounding the print made the media inaccessible for testing. As removing the print in pristine condition was highly unlikely, the primary goal of treatment was to remove the print with the least amount of media loss possible. To try different removal techniques and determine how best to release Untitled, I created linocut mockups and used acrylic glazing to recreate the conditions of Untitled as closely as possible. I tested several mechanical methods of separating my mockup prints from their acrylic, including (careful!) brute force as a control, humidification, and temperature modification. All the mockups were removed with a microspatula, using a gentle twisting motion near the stuck ink. The results of these approaches can be illustrated through images and micrographs. My testing showed that freezing the entire mockup was the most successful method. Using a chest freezer, Ifroze Untitled and removed it from the acrylic slowly, over the course of several days. The largest adhered areas were less responsive to my microspatula technique, so after testing a few more frozen mockups, I found a mat-cutting blade very effective for separating the remainder of the ink from the acrylic while Untitled was still frozen. These techniques resulted in a freed print in very good condition; the few areas of loss that occurred during the removal process were easily reattached or filled and inpainted. After treatment, there was virtually no visible evidence that the print had been adhered to its glazing. Though the materials and condition of an individual object affect the feasibility of freezing, these experimental results provide a new technique to consider for the separation of hydrophobic media stuck to acrylic glazing."
 
Download
pdf file
Can turning off air conditioning systems still keep museu...   3.22 MB   1 version
Uploaded - 09-11-2025
WEIAN WU | Abstract: Museums serve as essential institutions for preserving and displaying human history and civilization, with strict control of temperature and humidity traditionally seen as a cornerstone of collection care. However, as global discussions around climate change and energy conservation intensify, museums are increasingly recognizing their responsibility to contribute to environmental sustainability while continuing to safeguard their valuable collections. CHIMEI Museum, situated in the subtropical climate of Taiwan, has long adhered to a 24-hour air conditioning system to maintain optimal environmental conditions for its collections, resulting in substantial energy consumption. The air conditioning system alone accounts for 40% to 60% of the museum's overall energy use. Responding to the mounting pressure to reduce energy costs and carbon footprints, CHIMEI Museum has embarked on a significant journey to optimize its energy usage without compromising its collections. This endeavor, which began in 2014 when the museum relocated to its current site, is a testament to the collaborative spirit of the museum's collections manager, conservator, and air conditioning engineer. Together, they initiated a series of energy-saving measures, including raising the temperature set point from 22±2°C to 23±1°C in 2015and further to 23±2°C in 2018. This gradual shift marked the first step toward balancing energy efficiency with conservation needs. In 2021, CHIMEI Museum took its energy-saving efforts to the next level with an innovative strategy. The museum adopted an intermittent operation mode during non-operational hours (19:00–07:00), where fourteen airhandling units were successively set to operate at reduced frequencies (from 43Hz to 30Hz) and follow a cycle of 45 minutes off, followed by two hours on. By 2023, this forward-thinking approach resulted in approximately 3.5%energy savings in one year. Throughout these adjustments, conservators closely monitored critical works of art, ensuring that no adverse effects on the artworks were observed. Monthly meetings between the museum's collections manager, conservator, and air conditioning engineer have been essential in fine-tuning the Supervisory Control and Data Acquisition System. During these meetings, temperature and humidity data from the galleries were meticulously reviewed, and adjustments were made to ensure that environmental conditions remained within acceptable parameters for the collection's preservation. Throughout this period, conservator continuously monitored a 12th-century Catalonian wall painting near the exhibition entrance and a 1924 oil painting on canvas by Moïse Kisling in a distant gallery to ensure no harmful changes occurred, the original cracks have not significantly expanded. Given the success of these initiatives, CHIMEI Museum plans to expand these energy-saving practices to other galleries in the near future. This initiative represents a sustainable model for museums.
 
Download
pdf file
The Application of Forensic Imaging Technology to the Fie...   869 KB   1 version
Uploaded - 09-11-2025
MINYOUNG KIM - JESSICA PACE - LINDSEY TYNE | Abstract: In 2023, the Barbara Goldsmith Conservation & Preservation Department at New York University Libraries acquired the Crime-lite® AUTO (Crime-lite) and Crime-lite® 42S (42S) to fill a need for efficient and repeatable non-visible light image capture by non-imaging specialists. The Crime-Lite and 42S were developed by Foster +Freeman Ltd. for crime scene investigation. In this study, we explored the Crime-lite’s capability to create multi-band images (MBI) typically used in the cultural heritage field. This exploration allowed us to determine optimal filter and illumination source combinations corresponding to those used with a modified DSLR to create a seven-image MBI set using the Crime-lite: Visible Light (VIS), Ultraviolet-Induced Visible Fluorescence (UVA), Reflected Ultraviolet (RUVA), Reflected Infrared(RIR), Visible-Induced Luminescence (VIL), False Color UV (FCUV), and False Color IR(FCIR). When operated with internal and external illumination sources, we found that the Crime-lite produced MBI sets comparable to the modified DSLR. Additionally, we easily captured visible-induced infrared luminescence (VIL)images to detect Egyptian blue using the internal illumination and filters of the Crime-lite, an imaging type we could not capture with the modified DSLR and illumination sources we had available for the study. The largest difference we observed between MBI sets captured by the Crime-Lite and modified DSLR was when we compared images across cameras; however, both cameras produced usable reference images. Images captured with the Crime-lite have associated metadata recording illumination, filter, and camera settings, which is a benefit to the user when documenting imaging parameters. Key advantages of the Crime-lite are its efficiency, portability, ease of use, high image quality, and repeatable parameters for image capture. The user-friendly interface and the integrated controls for illumination and filter changes allow for the capture of common MBIs used in the cultural heritage field with minimal user training. This makes the Crime-lite a pragmatic alternative to the typical modified DSLR MBI capture workflow and a welcome addition to our documentation tools.
 
Download
pdf file
Creating the Ripple Effect on Embroidery Research and Dev...   1.65 MB   1 version
Uploaded - 09-11-2025
CHENG-CHUNG HUANG | Abstract: The occurrence of resonance can make the activator of the resonance effect have a multiplier effect on the message to be conveyed to the publics. In Taiwan's textile conservation and research field, the International Embroidery Research and Center of Tainan University of Technology (IERC, TUT) has well known for preserving and repairing embroidery crafts and temple antiquities. The Embroidery Center found that the disappearance of embroidery skills and the decline of embroidery business in recent years have led to the difficulty of inheritance. Since 2017, IERC began to have the concept of "University has obligations to serve our society", and promoted the practice plan as called "Embroidery Skills Inheritance and Memory Extension". Until now, seven consecutive years served local communities and remote villages to promote embroidery aesthetic activities, and opened traditional embroidery craft talent cultivation courses. At the beginning of 2024, IERC cooperated with the National Science and Technology Museum to aim K4-K9 students to learn embroidery and tailoring skills, and scheduled to host a learning sharing and achievement presentation by the end of project. IERC, TUT and Collections and Research Division, NSTM were established in 2002 and 2003 respectively, bothof which offer exhibition hall visits. Therefore, building learning atmosphere from the two departments was considered as the main cooperation plan. The goal was expected to provide participants with an exciting and innovative experience through the tailoring and embroidery experience, and cultivate their interest in a career as an embroidery tailor. In addition, the participants heard the story of preserving traditional craft fabrics that their stereotyped impression of traditional embroidery skills were be changed. Apparently, creating a daily design with life aesthetics has become an unforgettable life experience. This paper examined the ripple effect as a qualitative research theory, and analyzed that organizational cooperation had a substantial effect on external links, thereby expanding the preservation value of traditional textile skills. The research finding explained that there were two main reasons for the ripple effect. Firstly, to provide students with an exciting and innovative experience. Secondly, initial stage of establishment was reached to form a unique service system for Taiwan's embroidery clothing cultural assets.
 
Download
pdf file
Reviving Broken Plastics with 3D Printing - Patricia Nav...   16.03 MB   1 version
Uploaded - 09-11-2025
PATRICIA NAVEDO GARCIA | Abstract: As 3D printed artworks gain value in collections, the use of 3D techniques for contemporary art conservation remains limited. The variety of materials and techniques allows conservators to tailor their approach, yet outsourcing processes like photogrammetry and 3D printing often limits a conservator’s direct involvement. This raises questions: Is it practical enough to incorporate these techniques into institutional or private practices? How can 3D technologies address contemporary conservation challenges like plastic degradation? This research uses a contemporary art case study with broken plastic flowers to examine a hands-on approach with 3D techniques, highlighting the opportunities and challenges, and providing insights for beginners. The author, with little experience in 3D technologies, used photogrammetry and 3D modelling software to digitally reconstruct the flower. Then, 3D printed samples of 8 materials, including extruded plastics, powder bed plastics, and cured resins, were examined to determine the most suitable option for the treatment. Standard resin had the best result, with high-detail resin and vapour-polished nylon following. The extruded plastics were determined to be too smooth and lose too much detail after post-processing. It was concluded that photogrammetry and 3D modelling should be done in-house while 3D printing can be outsourced. References and a comprehensive visual workflow accompany the research, illustrating the entire process from photogrammetry scans to the final 3D-printed product.
 
Download
pdf file
Pew! Pew! Testing A Novel Application of Neodymium-doped ...   1.76 MB   1 version
Uploaded - 09-11-2025
STEVE MORLEY | Abstract: La Brea Tar Pits in California is the world’s richest Late Pleistocene (55 kya - 10 kya) fossil locality and an International Geoheritage Site. Renowned for its abundance of specimens and excellent preservation resulting from asphaltic taphonomic conditions, the Rancho La Brea (RLB) collection has a substantial representation of biological material. Only 14 fossiliferous asphaltic deposits are known globally, making preparation of such paleontological specimens highly specialized. RLB’s Fossil Lab is the only facility in the world skilled in large-scale preparation and conservation of asphaltic fossils. Asphaltic fossil preparation is a chemical technique, requiring degreasing solvents to remove matrix of hardened asphaltic sediment. Current preparation protocol at RLB uses manual application of small volumes of solvent, Novec 73DE, in targeted areas of adherent matrix, softening the asphalt and loosening sediment for gentle separation from specimens. Manual osteological specimen preparation is routine, but preparation of arthropod and botanical specimens requires further study. Lacking archived preparation records at RLB, there is no available data regarding past methods for arthropods or botanical materials. In a preliminary trial, manual preparation of arthropods with Novec 73DE demanded a highly controlled application of solvent to prevent over-saturating matrix surrounding the specimen, and disassociation of articulated elements. The mechanical effort required to remove stubborn matrix could lead to damage. The fragility of these materials and complications arising from solvent preparation suggested investigation of a contactless preparation method. While the use of neodymium-doped yttrium aluminum garnet (Nd-YAG) lasers is becoming increasingly common in conservation fields, its application for the removal of surface asphaltic matrix from fossil arthropods and botanical material is novel.
 
Download
pdf file
Historic Background and Physical-Chemical Description - ...   1.39 MB   1 version
Uploaded - 09-11-2025
ANNIKA BLAKE-HOWLAND | Abstract: Frederick Carder (1863-1963) was a noted glass designer who cofounded Steuben Glass Works in Corning, New York, with Thomas G. Hawkes in 1903. In this period Carder also developed a golden, iridescent glass named Aurene, inspired by the appearance of weathered Ancient Roman glass where the glass surface was modified over hundreds of years due to water exposure in a burial environment. This paper will discuss the complex historic manufacturing process of Aurene and the preliminary findings of a study to investigate the surface and body of the glass. Prior to cofounding Steuben, Carder previously worked with John Northbridge and as a designer at Stevens &Williams, where he helped reintroduce colored glass to the firm. It is likely that Carder began to explore concepts related to the glass that he would later name Aurene during his time at Stevens & Williams. Carder developed a method for creating an iridescent effect in a leaded soda lime silicate glass and submitted a patent for the gold-iridescent glass Aurene on September 6, 1904. In 1905 Carder, through Steuben, debuted a line of blue Aurenedecorative glass objects. Although other glass designers were creating iridescent glass at the same time, Frederick Carder’s process had only minimal overlap with the processes used by these other designers. The process for creating an Aurene object is complex and contains several steps. Frederick Carder was known to be significantly secretive about his glass compositions and processing, but he also made significant notes and recorded observations in his personal notebooks. Carder’s Aurene glass for production was a soda lime silicate glass with added oxides of silver and nickel. This base glass was melted, and the object was then blown under reducing conditions, creating an exterior layer of reduced metal oxides. Next, the object was sprayed with tin chloride and heated in an oxidizing flame to produce the iridescent effect. All of these steps were done fully by hand, so the evenness of the metal oxide layer, the deposition of the tin salts, and the evenness of the exposure to the oxidizing flame were all the product of the skill of the glassblower creating the object. This complex, multistep process creates a glass that has compositional differences across the bulk and surface. While Carder’s Aurene glass has been written about numerous times from an art historical perspective, scientific investigations of the glasses are difficult to find. Samples of gold Aurene glass were investigated through spectroscopic techniques, including X-ray fluorescence (XRF), scanning electron microscopy with energy dispersive spectroscopy (SEM-EDX), Raman spectroscopy, and Fourier transform infrared spectroscopy (FTIR). Through these studies the authors were able to begin to form a picture of the structure and composition of the Aurene glass, with a strong focus on the differences between surface and body. Finally, future work will be discussed, including recreating some of Carder’s Aurene compositions and techniques with a particular focus on furnace conditions.
 
Download
jpeg file
Will It Still Stick? - Investigating Adhesive Suitability...   3.50 MB   1 version
Uploaded - 09-11-2025
REBECCA ROSEN | Abstract: This project investigates the retreatability of mild steel in a marine environment with a selection of conservation and proprietary adhesives after a corrosion inhibitor, Ship-2-Shore (S2S), has been applied. S2S is an oily, calcium sulfonate-based “dewatering fluid” that penetrates vulnerable areas and displaces moisture. Corroding steel will often delaminate and detach, requiring consolidation methods that are compatible with this barrier-likecorrosion inhibitor. The locus of this exposed steel is a 60’ x 60’ portion of the Slurry Wall. This reinforced concrete architectural feature is an archaeological remnant of the original retaining wall responsible for holding back the Hudson River during excavation of the original World Trade Center site. It now remains preserved in situ as the 9/11 Memorial Museum’s largest artifact. In the aftermath of 9/11, steel cables (tiebacks) were installed to stabilize and temporarily anchor the wall into bedrock during the site recovery. Though the Slurry Wall no longer performs a structural function, the tiebacks and their steel caps remain visible on the surface, continuously exposed to brackish water infiltration that was a feature of the wall since its inception. Displaying a former structural element in a dynamic environment brings some conservation challenges. Reinforced concrete has an expected use life, and water ingress poses a continuing risk to the tiebacks. A five-year investigation of the structural integrity of the wall and conservation triage identified the corrosion and delamination of the tiebacks as a significant concern. After research into a variety of corrosion inhibitors that would function in this unique environment, half of the exposed tiebacks were treated with S2S. Although appearing to have mitigated the corrosion, S2S does not secure delaminating fragments. The proposed plan is to re-adhere lifting pieces before they detach. However, whether the S2S will interfere with curing and adhesive properties needs to be determined before implementation of any treatment plan. When one emergency is over, how do you plan for the next? Small-scale testing may help form the answer for ongoing care. A DeFelsko PosiTest® AT Pull-off Adhesion Tester was used to quantify and compare the efficacy of 12adhesives applied to both S2S-coated and uncoated steel plates in humid and ambient environmental conditions in laboratory setup. Graphs of the tensile strength data and detail images of the failed test joins reveal a marked and surprising difference in the performance of the various adhesives. Alkyd-compatible acrylic resins (ParaloidB-67, Plexigum PQ-611) in nonpolar solvents adhered best to the oily S2S surface without displacing the coating and allowing the formation of rust. A narrowed field of adhesives will determine the effects of additional parameters on relative tensile bond strength: adhesive concentrations, solvents selection, pre-corroded surface topographies, and cure time of the coating before adhesive application. These tests inform an ideal treatment protocol for corroded steel that is consistently exposed to moisture and wet-dry cycles by balancing corrosion protection with surface integrity. Simulating maintenance treatments expected in future years builds a better understanding of how the metal, coating, and adhesive interact and prepares for next necessary interventions.
 
Download
png file
Are you thready for this? Collaborating with undergraduat...   3.24 MB   1 version
Uploaded - 09-11-2025
MADELINE HAGERMAN - ANNE CLARK - SABRINA HETTINGER - HAILEY KREMENEK | Abstract: One of the unique aspects of the undergraduate Art Conservation Department at the University of Delaware is its tradition of teaching students to appreciate original manufacturing techniques through hands-on studio courses. While many of our existing courses emphasize drawing skills, I wanted to create a space where students could learn about the history of textiles through direct engagement with intricate techniques. Last spring, I developed a textile-making course that focuses deeply on the process of making. This became a collaborative endeavor, enriched by the diverse expertise of my undergraduate students. Much of my knowledge in textile crafts is self-taught, starting when my grandmother taught me to knit at the age of ten. However, I quickly realized that creating this course would benefit greatly from the input of some of my students who had their own extensive backgrounds in textile arts. Anne Clark brought her years of experience as a professional weaver in New Mexico; Sabrina Hettinger had over a decade of costuming experience for theater; and Hailey Kremenek recently worked on an exhibition focused on the conservation of fashion designer AnnLowe’s gowns at Winterthur Museum, Garden & Library. Though they were all registered for the class, I also invited them to collaborate as teaching assistants, allowing them to lead class sessions and share insights that only someone with their background could offer. Collaborating with students in this direct manner is rare, especially in the development of a course, and it created a unique opportunity for peer-to-peer learning within an undergraduate setting. The course involves weekly projects on different techniques, from felting to weaving to embroidery, with interspersed work days. Their final project consisted of a textile portfolio and a historical recreation project made using the techniques learned in class or based on a students' interests. Hailey taught herself how to make bobbin lace, another student recreated Kermit the Frog in felt, someone embroidered a moon rabbit in silk, and Sabrina created a panel of jewel beetling embroidery with gold work. Their involvement did not just impact the course's first iteration; it has shaped its future. As I prepared to teach the course again this fall, I sought their input once again on what worked and what could be improved. Their contributions and enthusiasm have been fundamental to the course's development and success. This paper aims to explore the power of collaboration within academia, particularly how working closely with students can lead to a richer, more dynamic learning experience. By drawing on the expertise of these undergraduate collaborators, we created a course that goes beyond education, rooting itself in historical craft techniques and the lived experiences of those involved. This experience reinforces the theme of this conference: that the skills and stories each person brings are invaluable, and that our field is made stronger through collaboration and the inclusion of diverse voices.
 
Download
jpeg file
Flipping the Script (and the Map!) on Collections Access...   4.11 MB   1 version
Uploaded - 09-11-2025
WENDI MURRAY | Abstract: In June 2024, several dozen 20th century Hopi objects made the unlikely journey from Wesleyan University, Connecticut to Moenkopi, Arizona for a week-long visit. It was unlikely because it was not an exhibit, loan, or repatriation request– rather, it was a “re-imagined” collections research visit, coordinated in collaboration withPatty Talahongva, a Hopi woman who had recently discovered that her great-great-grandmother’s pottery was in Wesleyan’s collections. Talahongva’s request challenged Wesleyan to reconfigure the temporal and spatial conventions of museum collections access. Rather than requiring members of the community to come to the repository, the repository went to Hopi. Rather than work out the logistics for 2-3 years (as would be typical for a traveling exhibit), the planning and execution of this event took place in less than 12 months - one reason for the urgency was the age of the descendants of the artists, many of whom are in their 80s and 90s. For three days, Hopi community members, direct descendants of the objects’ creators, and members of the general public were able to engage directly and meaningfully with works of pottery, basketry, katsina dolls, and textiles. During our event grandparents were able to share this experience with their grandchildren and even some great-grandchildren. While unorthodox from a museum perspective, Talahongva’s vision aligned with the Wesleyan Library’s desire to embody more inclusive models for access, to think more expansively about modes of “preservation,” and to consider the importance of contemporary cultural connections in care regimes. By centering contemporary Hopi families and Hopi lands in the request for collections access, the Tuma AngwuOwya (“Let’s Go Home for a Visit”) project lays the groundwork for more inclusive, responsive, and culturally informed models of stewardship and collections care. This presentation will provide context for the original collection, the factors motivating Talahongva’s initial request, and the triumphs and challenges of planning such an innovative and unconventional event, from the perspective of both community partners and collections staff. We will also discuss the ripple effects of the project on the repository and the Hopi community over a year later, and thoughts on the viability of this model for other museums.
 
Download
jpeg file
The Role of a 'Bug Bulletin' in Strengthening Integrated...   322 KB   1 version
Uploaded - 09-11-2025
ELISE ETRHEIM | Abstract: Effective Integrated Pest Management (IPM) is a crucial element of preventive conservation, safeguarding collections from damage caused or signaled by pests. However, raising awareness and prompting action within an institution can be challenging, especially among staff not directly involved in pest monitoring. This challenge is compounded by the complex, data-heavy nature of IPM programs, which often require specialized knowledge to analyze and interpret. At the University of Arizona (UofA) Libraries Special Collections, a small preservation team of four oversees a building-wide IPM program to monitor pest populations and mitigate their risk to the collection. Following a recent update to our program, we saw an opportunity to implement creative communication methods to enhance staff engagement and familiarity with the program—one such method was our in-house 'Bug Bulletin'. So far, this approach has proven effective in increasing overall awareness and participation in the IPM program. The 'Bug Bulletin' is a quarterly internal report designed to demystify IPM, inform staff about current pest activity, and equip them with knowledge to support pest-prevention efforts. Limited to four pages, it combines practical updates on pest occurrences with engaging content, including short pest profiles, fun facts about common pests, recognition of highly engaged staff, and best practice recommendations. Special attention was given to creating visually appealing layouts and using clear, non-technical language to ensure accessibility across all departments—whether administrative, facilities, or curatorial. The bulletin's impact has been twofold: it elevated IPM as a shared institutional responsibility and enhanced staff members' ability to recognize early signs of pest infestations. By incorporating visuals and humor, the 'BugBulletin' has transformed how staff approach this otherwise unappealing subject matter, making it more engaging. Informal feedback from colleagues suggests that the bulletin has inspired closer observation and a greater adherence to pest-prevention practices. Beyond increasing engagement, the success of the 'Bug Bulletin' has sparked discussions about adapting other internal communication strategies, encouraging a more interdisciplinary and integrated approach to preventive conservation. This project has highlighted the value of innovative, staff-wide communication strategies at the UofA Libraries Special Collections in strengthening preventive efforts and building institutional resilience against pests. In the end, IPM and other preservation strategies greatly benefit from institution-wide support, understanding, and engagement.
 
Download
pdf file
Optimal Measuring Time for Neon Color and Brightness - B...   2.73 MB   1 version
Uploaded - 09-11-2025
BOGNA SKWARA | Abstract: Gas discharge lamps or “neon” objects are a significant part of modern visual culture. Since the 1920s, stemming from signage and advertising, they initially populated urban landscapes to make their way into the art world shortly thereafter. Made by hand, neon units’ production requires highly skilled artisans, and their lifetime is typically limited to several decades, meaning their replacement is integral to the conservation of artworks containing them. Though this technology is present in art collections worldwide, literature regarding its conservation and care remains scarce. The color and brightness of neon shifts gradually over time. The exact rate of this aging depends on many factors, including the length and diameter of tubes, the kind of gas they contain, and whether the tubes are continuously or occasionally activated. This propensity to change over time, combined with the fact that neon units require color-matched replacement when they break or reach their end of life, makes color and brightness measurement a valuable tool for documentation. The noble gases used in neon lamps have full outer electron shells, which make them chemically inert and create a distinctive colored light when ionized by the high voltage that passes through them when activated. However, ionization of the gas takes a period of time to reach a consistent color and brightness; these two values initially shift to varying degrees when a neon unit is turned on. To reliably document these qualities, one first needs to know the point when that variance diminishes. The goal of this study is to better understand how long a neon unit should remain on to minimize variations in color and irradiance of the two most common gas combinations used in neon production: neon (Ne) and the argon with mercury (Ar-Hg). We look at the warmup times for four units with two gas and phosphor variations in commonly used tubes (10mm, lead-free, colorless glass): an uncoated tube with Ne, an uncoated tube with Ar-Hg, a phosphor-coated tube with Ne, and a phosphor-coated tube with Ar-Hg. Clusters of measurements were taken at regular time intervals with the Gigahertz-Optik MSC15 Spectrometer. We compared trends in averages and standard deviations for irradiance and colorimetry values, as well as spectral power distributions to establish whether variance reliably decreases over time to a value that is below what is perceptible to the human eye, or the just noticeable difference (JND). This poster summarizes our findings for these test units, as well as historic neon objects, and proposes recommendations for assessing the warmup time of neon artworks. The study is a continuation of a research project on the care of neon-based artworks undertaken at the Getty Conservation Institute, whose initial outcomes were presented during the 51st AIC annual meeting.
 
Download
pdf file
Study and conservation of archaeological glass dish from ...   2.28 MB   1 version
Uploaded - 09-11-2025
MOHAMMAD ABDELKARIM | Abstract: The Presentation discusses a special case of an archaeological glass object from the early Islamic era that was extracted from the excavations of the American Research Center in Fustat, Egypt, in 1966. The glass dish appears to be made up of two layers of glass, but this is not true. However, this appearance required studying the reason, and we find that the glass object has glass corrosion and that part of the glass layer has fallen off and is missing, which makes the shape of the object appear to be made up of two layers of glass. When we see the shape of the glass corrosion on the object, we find that it is consistent, except for some places on the object that appear black as spots. This necessitated a study to identify the reason for the difference in the shape and color of these places. SEM with EDX were used to identify this reason and to study the components of the glass dish. A USB Digital Microscope was also used to examine the surface of the glass dish, including the glass corrosion, as well as the places of the fallen parts on the dish, which confirms the presence of fallen parts of a layer of glass. When the glass dish was discovered in the excavations of the American Research Center in the late twentieth century, it was found to be broken to many parts and there is a missing part, so it was previously restored. However, recently, parts of the creature were found to be separated from the previous conservation, and there was a space between its assembled parts. UV photography was used to identify previous conservations, as well as a sample was taken from the material of the previous assembly and analyzed using ATR analysis, and it was identified. The previous assembly was disassembled and reassembled the object, the previous yellowed consolidation material was cleaned and removed, a consolidation material was applied to the corrosion glass parts of the object, and Paraloid was used for the consolidation, and the glass plate was preserved in a storage box that was specially made for it from acid-free cardboard. The glass of the dish is transparent and has decorations, and therefore these decorations do not appear clearly except at specific lighting angles. These decorations were identified specifically and drawn using Adobe Illustrator, and the shape of the decorations for the missing part was also imagined. It is worth noting that this archaeological glass dish was participated in one of the temporary museum exhibitions after it was studied and restored.
 
Download
pdf file
Exhibiting Chinese Books - an elegant and sustainable app...   1.53 MB   1 version
Uploaded - 09-11-2025
JODY BEENK - LESLEY LIU | Abstract: Custom-made acrylic book cradles can be expensive to produce, time-consuming to make or procure, and difficult to recycle. At the University of Hong Kong Libraries (HKUL), as we were developing a series of exhibitions of traditional Chinese thread-bound books, we wanted to find a material and method that would be affordable, reusable and easy to produce inhouse. The majority of Chinese rare books found in library collections today have textblocks made of paper with either a paper or textile cover that is stab bound along one edge, resulting in a rigid spine but a flexible and lightweight textblock. In researching material that would be able to support the drape of the textblock while holding the spine in place, we focused our attention on a combination of rolled foam and polyester sheets. Rolled pieces of Volara foam attached to a base became our preferred type of support. It can accommodate fascicles of different thicknesses and heights and can be displayed flat or at various angles. While this material accommodates a significant number of traditional books, some require a slightly different approach. To supplement the foam supports, we also fabricated a series of matboard supports that are similar to book supports created for Western codices, but with modifications that address the specific requirements of Chinese thread-bound books. These methods can be altered in a myriad of ways to safely and elegantly showcase these delicate books with a support system that can be reused both for exhibition display and as supports in a library reading room. At HKUL and the Weissman Preservation Center (Harvard Library) the fabrication of book supports for Chinese and other Asian books continues to evolve.
 
Download
pdf file
Tracing an Elusive History - Emily Jenne   1.72 MB   1 version
Uploaded - 09-11-2025
EMILY JENNE | Abstract: Plaster, as a material, has been used for centuries in diverse practices, from casting multiples to creating sculptural forms. This project focuses on plaster prints—works that are singular in their uniquely carved and painted surfaces and multiple in their inextricable relationship to printing matrices. Historically, plaster prints were used to proof or create impressions without the need for a press. Atelier 17, an innovative printmaking studio that was active in Paris and New York in the mid-twentieth century, significantly expanded upon the plaster printing technique. Artists such as Stanley William Hayter, John Ferren, and Anne Ryan worked in this medium, carving and painting their prints after the initial impressions to produce unique works of art. Hayter, who was the founder of Atelier 17, and his contemporaries emphasized that they were not inventing new techniques but rather building on existing ones in a collaborative and experimental environment. Plaster prints have largely fallen into obscurity today, complicating their connoisseurship and preservation. Using reconstruction as our primary method, our project aims to highlight the materials and techniques originally used in the creation of these prints, which can support our understanding of and care for the extant oeuvre of plaster prints created at and around Atelier 17. Our work benefited from collaboration with art historians, artists, and paper and objects conservators. Bringing insights from these various fields of expertise, we hope to revive interest in this technique, making it accessible to a new generation of artists while underscoring the important contributions of the Atelier 17 printmakers.
 
Download
pdf file
Characterizations of Dyes in Velox Transparent Water Col...   5.07 MB   1 version
Uploaded - 09-11-2025
TOMIKA BENJAMIN | Abstract: Velox Transparent Water Color Stamps, manufactured by Eastman Kodak Co. in Rochester, N.Y., were marketed primarily to professional and amateur photographers and artists for hand-coloring black-and-white photographs. First appearing around 1914, Velox packets contained 12 perforated dye sheets, each separated by paper cover pages that briefly described their intended use. The descriptions were often poetic, with phrases like "A soft, beautiful yellow for use in flower work, sky tints, etc." The 12 colors in a typical Velox packet included Light Yellow, Deep Yellow, Flesh Tint, Brilliant Red, Scarlet, Warm Brown, Foliage Green, Deep Green, Light Blue, Dark Blue, Violet, and Stone Gray. These dyes allowed photographers to hand-tint their images, enhancing aesthetic appeal and offering a more personalized, artistic touch. The practice became popular in an era when color photography was still experimental, and products like Velox provided a simple, accessible solution for adding color to black-and-white prints. This research sought to identify the chemical compositions of the dyes found in an undated Velox Transparent Watercolor Stamps brochure from the Getty Conservation Institute (GCI)photographic study collection. Accurately identifying these dyes can guide conservation efforts, particularly in preserving photographs employing hand-coloring. Several techniques were used to analyze the dyes: Raman Spectroscopy, Fourier Transform Infrared Spectroscopy (FTIR), Surface-Enhanced Raman Spectroscopy(SERS), and Thin Layer Chromatography-SERS (TLC-SERS). Initially, Raman and FTIR spectroscopy provided preliminary spectra for each dye. While many of the dyes exhibited fluorescence under Raman, FTIR analysis yielded some promising results, helping to suggest which aniline dyes were present based on specific spectral peaks. SERS was applied using silver nanoparticles to overcome fluorescence and amplify the weaker Raman signals. This method offered higher sensitivity by quenching fluorescence, allowing vibrational modes to be more clearly detected. Because Raman, FTIR, and SERS are not separation techniques, Thin Layer Chromatography(TLC) was used to isolate individual dye components and determine if any mixtures were present. TLC-SERS proved especially useful when, for example, the two yellow colors were analyzed. While both Light Yellow andDeep Yellow appeared to contain Acid Yellow 23 according to Raman and FTIR, TLC-SERS analysis revealed that Deep Yellow was a mixture of Acid Yellow 23 and Acid Orange 7. The results of this study have potential implications for art historical and conservation research. By identifying the specific dyes used in Velox products, conservators can better understand the materials involved in hand-colored photographs. This research allows for more informed decisions in preserving photographs containing similar aniline dyes.
 
Download
pdf file
Micro computed tomography of Mary Stuart’s prayer book b...   1.11 MB   1 version
Uploaded - 09-11-2025
ANNA KOWALEWSKA | Abstract: When the prayer book of Mary Stuart, Queen of Scots was delivered for conservation a question was raised if the binding of the prayer book can be restored to open it more easily, so that the sewing wouldn’t cause distortion of the vellum and misplaced pages could return to the proper location. I wanted to apply as many non-invasive tests as possible before physically touching the precious book itself and for this reason I decided to focus on computed tomography (CT) imaging. My project benefits from collaboration of art conservation and nuclear physics similarly to patient-hospital relations through a harmless evaluation of the condition. Application of CT in bookbinding restoration is still very rare or non-existent and this project is pioneering. The goal was to develop CT imaging as a standard tool to diagnose and solve bookbinding restoration problems. Most of the historical books have lost their original covers over the years or were rebound multiple times. CTimaging can offer real visible answers as to the original book structure instead of guessing them by the time and place of the book origin, never compromising the safety, allowing to verify and justify planned restoration procedures. First CT scans were performed on a medical scanner at the hospital. Depending on the scan viewing program, different structures of the bookbinding were revealed but I needed a better resolution like the one of micro CT to distinguish the sewing thread course. Micro CT scans were performed at the university, scanning the book spine took significantly longer but yielded great results. The scan, although at first puzzling, exposed the true condition of the book after its 18 century rebinding - the pages’ spines were gone and needed a complete reconstruction to allow easy opening of the manuscript. Marks discovered on the book spine were interesting suggestions of the probable original 16 century binding. Also, they enabled me to precisely estimate the amount cut off from the edges of the prayer book. CT has proved immensely useful as a pre-renovation book binding analyzing tool. Both methods - medical CTand micro CT have revealed various binding structures invisible to the naked eye. Medical CT scans are faster toperform, and can uncover different complex layers depending on which viewing filter is applied. Designed toshow human organs in detail, they treat the book as such allowing it to peel off every layer, and show everytissue. When searching for the specific and minuscule detail, micro CT proved much more accurate though. In the bookbinding it meant I could observe the sewing thread course, even if it was hidden deep in the spine or covered with a thick layer of glue or lining. Understanding the makings of a binding without touching or compromising the valuable object is a priceless opportunity. Developing micro CT scans as fully operational bookbinding diagnostic tools will be an immense asset in the conservation process.
 
Download
pdf file
Collaboration is Key; Introducing the Conservation Ethos ...   4.89 MB   1 version
Uploaded - 09-11-2025
NEELA WICKREMESINGHE | Abstract: Conservation science and theory are not universally understood or known in the general public. However, reframing and explaining our profession to a general audience and to budding construction professionals is integral to the public’s buy-in to the value of conservation and historic preservation. Through a ten-week apprenticeship program at Green-Wood Cemetery, I teach students with little to no background in conservation or construction, an introduction to stone conservation and the basic principles of conservation theory as it pertains to preservation masonry projects. This program began at Green-Wood in 2018 as a program site of the Bridge to Craft Careers Program founded and supported by The World Monuments Fund in 2015. With their help I have created a curriculum that unpacks the conservation and preservation world and primes students to be advocates for historic fabric no matter what field they end up finding employment. Through our work together the students and my restoration crew at Green-Wood fully restore a historic masonry mausoleum. We talk through and implement specific treatments on the monument such as project documentation, historic mortar removal, mortar matching and installation, masonry patching, and non-destructive cleaning. This presentation will describe the steps I take to train new apprentices in stone conservation as well as highlight the mausoleum restorations we have successfully completed over the years. There will be an emphasis on community engagement and the types of recruitment methods I use to create excitement around the conservation field and how to speak to young adults about conservation and restoration within the context of today’s job market. By opening up conservation careers to individuals not just with higher education backgrounds the whole field stands to become more open and inclusive about sharing the mission of preservation with new professionals that are just as passionate if not more about our shared heritage. Conservation is not just for those of us with access to graduate degrees- many hands make light work.
 
Download
pdf file
Straits Settlement Police Band Scores - Jam Meng Tay   2.35 MB   1 version
Uploaded - 09-11-2025
JAM MENG TAY | Abstract: The Straits Settlement (S. S) Police Band music scores collection was donated to the National Archives of Singapore (NAS) by the Republic of Singapore Police Force Band in 2016. It was a historically significant collection whose roots go back to the first local regimental band in Singapore (1925-1940s) during the British colonial office period, before it was renamed the Singapore Police Force Band, and continues to be known today. These 215 scores of western compositions were arranged for band music as the scores excluded string instruments. They were published across the 18th to 20th century, with the majority in the 1900s. The single and multiple-folio scores were printed primarily with carbon black ink on wove paper and ink-stamped with ‘S. SPolice Band’, alongside with other handwritten media such as graphite pencil, coloured pencil, ballpoint pen, technical pen, and iron gall ink. Some of these markings revealed the multiple users over time. The project started with a condition survey in 2018 involving four conservators from NAS’ Archives ConservationLab (ACL). They set out to propose the conservation treatments, housing storage solutions and time required to conserve the entire collection. The overall survey report revealed that the collection was mainly in poor condition, with Condition Rating (CR) range between two to five based on ACL CR’s scale of one (very good) to five(unacceptable conditions). Apart from tears and losses, the degradation of pressure-sensitive tape and adhesive labels applied by the user in the past rendered some items vulnerable to potential chemical deterioration. The comprehensive survey report and database enabled ACL to begin the challenging project by first selecting three scores assessed as CR4 and CR5 for conservation treatments, ‘Paraphrase– ‘Loroley’ by Nesvadba, ‘PlymouthHoe–A Nautical Overture by John Ansell and, ‘Kissing Time’ by Ivan Caryll, in 2022. With treatment and technical complexities, the team worked together to discuss the treatment options to balance viability and preservation needs. The Singapore Police Force Band project catalysed an opportunity for the conservators to deep dive into adhesive tape resulting from treatment experience, by embarking on an in-house tape removal training program for the team to learn and conserve the rest of the scores. It further developed into a collaborative effort with NAS’ Sound and Moving Image Laboratory (SMIL), which handles audiovisual archives, in creating tape samples. The methodology used a climatic chamber to carry out accelerated aging of the different tape varieties to simulate their conditions found on the scores with complex tape issues. This approach helped to create realistic sample case studies for the team to practise and learn from. The project explores different considerations when embarking on challenging conservation treatments, from decision-making to formulating practical, sound and applicable conservation treatment proposals. It will also highlight the importance of building capacity for the conservators through immersive training, widening our knowledge by researching into the rich heritage of Singapore, and the invaluable process of collaboration with colleagues.
 
Download
pdf file
A Web Connecting Paper, Textiles, and Paintings Conserva...   1.65 MB   1 version
Uploaded - 09-11-2025
LINDSEY WILLIAMS | Abstract: In the late 18th century, Elias Prunner painted on a small canvas made of webs harvested from the Puster Valley of the Alps in what is now Austria. Gemälde auf Spinnengewebe or “Painting on cobweb” developed into a type of local folk art of predominantly ecclesiastical imagery; made to hang in windows while light shone through them. Social awareness of this style of painting doesn’t appear to have gone beyond the geographical limits ofthe Tyrol region until the mid-19th century when local art dealers found they could be sold as souvenirs to foreign travelers and employed multiple artists. The style changed from ecclesiastical themes to vignettes of local traditions and portraits of famous people. Since these paintings were made only for a short amount of time and by a small grouping of artists from a particular region, there are very few examples of them remaining, some estimates suggest ~100 or less. A highlight of these paintings is in their materiality: that of the insect webbing that makes up the canvas, but as we discovered, not that of an arachnid. The canvases were stretched and placed into a thick paper surround and then 'safely' packaged in either cloth-bound or paper-cover portfolios typically depicting a spider on a web just in case you forgot about the uniqueness of the object. Their material nature is inherently delicate and with the impacts of time, mechanical stress, and fluctuations in temperature and humidity, those that do remain are susceptible to future damage. Very few conservators have studied the material nature of these paintings, let alone treated them, and due to their rarity and fragility, it is necessary to inform the conservation community of their existence to avoid their potential passive extinction. Northwestern University Libraries houses 5 of these paintings in various conditions, two having been treated in the 1980s. With sparse literature on the material nature of these objects, cross-disciplinary and international collaboration were necessary. Initial observations of these objects were compared to those in Manuela Wiesend’s 2012 thesis, which she generously supplied. Additionally, they were examined using Foster+Freeman’s VSC80 for reflected and transmitted light imaging, as well as stereo-microscopy to determine the layers and components of the painting. To further explore the materiality of the cobweb, polarized light microscopy was used to examine the fiber morphology, take measurements, and compare to reference samples of other insect-sourced fibers from the slide collection of the Art Institute of Chicago. From the analyses, it was clear that the webbing from the canvas has features that are distinctly different from other insect-sourced fibers, such as arachnid silk and the far more common silkworm silk from wild or cultivated species. Visuals on the poster will showcase the characteristics and features of these unique ‘cobweb’ objects: motifs on the original housings, subject matter, macro appearance, and patterns of damage. Images captured from the various analyses including imaging and fiber microscopy, and a brief overview of treatment techniques drawn from paper conservation will also be highlighted.
 
Download
pdf file
Investigation into uses of silicone rubber for tarnish re...   4.08 MB   1 version
Uploaded - 09-11-2025
MEGAN RANDALL | Abstract: This poster looks at silicone rubber as a tool for silver polishing and tarnish removal. Silicone rubbers mixed with calcium carbonate as ‘polishing erasers’ have possible applications on artworks with mixed media components or fragile sections that pose challenges to traditional polishing methods. Three types of silicone rubber were sourced from Smooth-On to test efficacy and control on tarnished silver surfaces. The three rubbers under review are Sorta-Clear 12, Mold Star 30, and Equinox 40. All three silicone rubbers are platinum-cure and can be easily mixed by volume with a 1A:1B ratio. Each rubber was chosen for its specific Shore A hardness (ASTM D-2240). Sorta-Clear 12 is 12A, Mold Star 30 is 30A, and Equinox 40 is 40A, with the higher number denoting a harder rubber. Each rubber was cast into bricks with different amounts of lab-grade calcium carbonate mixed into the rubber during its pot life. A variety of cast and cut shapes of the cured rubbers, application lubricants, and clearing solutions were tested. This poster will review the process of mixing the rubbers, the addition of calcium carbonate, and the evaluation of each mixture’s ability to safely remove tarnish. Implementations of this tool will be discussed, as well as possible advantages and disadvantages.
 
Download
jpeg file
The use of Fine Fiber Stitching for Mending an Islamic M...   1.84 MB   1 version
Uploaded - 09-11-2025
ABRA MUELLER | Abstract: In 2022, the Northeast Document Conservation Center (NEDCC) received an unusual object for treatment from the special collections library at Middlebury College. The book was a 19th century partial Quranic manuscript bound in lacquered boards. While this type of binding is not uncommon, what made it remarkable was that the manuscript was written on a substrate of incredibly fragile sandalwood veneer. Nearly every leaf was cracked orfully broken and the sewing was no longer intact. Historic repairs and added wove paper borders had caused additional damage as adhesive strain had pulled on the veneer over time. The leaves were sewn on textile tapes, and the tightback leather spine did not allow for safe opening or handling. On top of all of this, the media was extremely soluble. In bringing the book to NEDCC, the client’s hope was to allow for continued, though limited,use, maintaining as much of the original structure and function of the volume as possible. The first and most obvious challenge that we faced was how to repair the sandalwood leaves. Given the solubility of the media and the cracks running directly through text, traditional mending with Japanese paper and wheat starch paste was not an option. Instead we decided to employ a fine fiber stitch technique, originally developed by conservators at the British Library to repair a copper-corroded Mercator Atlas. Though no copper-based pigments were present in our manuscript, the benefits of a low-moisture repair for our purposes were obvious. In this technique, Japanese paper is blended into pulp which is dried in thin strips. Individual kozo fibers are then dipped in a very dry wheat starch paste and placed across the tear as a bridge, providing a strong and flexible mend. The result is a nearly invisible repair. Under magnification, these mends resemble stitching, which gives the technique its name. After the veneer repairs were complete, the second, equally formidable challenge was rebinding the manuscript. Once the text block was resewn, it was determined that any adhesive applied to the spine would cause more stress and continued breakage. With help from colleagues at other institutions, a non-adhesive spine lining and rebacking technique was developed that promoted gentle movement and prevented further breakages. Every step of this project required collaboration with colleagues in and outside of NEDCC. There were failures, setbacks, and other frustrations that could not have been overcome without a host of conservators and scholars coming to my aid. In this presentation, I will discuss the new approaches in methodology that I developed as the treatment progressed, but I will also reflect on the collaborative efforts that lead to its successful outcomes."
 
Download
pdf file
Addressing Efficiency and Functionality challenges with ...   5.71 MB   1 version
Uploaded - 09-11-2025
LOUIS DRUM | Abstract: Book cradles are an important tool for handling and interacting with books. Whether it be for display, reading, imaging, or restoration, a book cradle is at the center of the book’s safety and stability for various interactions. There have been many iterations of the book cradle, from bespoke to manufactured, however there is a need for book cradles that meet goals of efficiency and sustainability. Book cradles are crafted and modified to fit the book they are currently serving, whether that is by stacking multiple foam wedges, a custom acrylic stand, or rearranging pillows in order to support the proper places on a book. There is a need in reading rooms to balance efficiency, cost, and space. For cultural heritage institutions aiming for sustainability, single-use cradles may not be helping to reach that goal. For institutions who have limited space, keeping various sized wedges, where some of them may spend more time in storage rather than being used, can be challenging. Additionally, there may be situations where multiple patrons require a particular size of book support, but there may be a limited number of them available. Born from interviews with archivists, librarians, curators, conservators, and related professionals, the design of an updated book cradle is proposed . Furthermore this project displays the fruit of collaboration among designers, conservators, archivists, and other museum professionals to create purpose-built solutions for cultural heritage. The designer and author, Louis Drum, gathered common “pain points” from interviews, determining the challenges that many professionals faced with book cradles, some of which included inefficiency of swapping wedges, or not finding quite the right angle of support. Within these interviews spine support was also emphasized, and how some current options may not be appropriately achieving it. With these challenges in mind, a concept was modeled for an adjustable cradle using Fusion360 that can be moved and changed without needing to remove the book from the cradle, and can eliminate the need for custom single-use cradles. Currently the materials proposed to make this cradle are the following: the internal structure of the cradle will be made of a sturdy acrylic; the surfaces will be covered with a thin layer of foam; and all of it will be wrapped in a conservation-grade fabric. For the functionality, the opening angle of the cradle is currently able to be adjusted from 60° to 120°, and the plates can extend to fully support books with a wingspan up to 27 inches. The middle of the cradle leaves room for different-sized spine inserts, or allows for the use of book pillows. The cradle can be folded in half and stored in a custom carrying case that can also store spine inserts, book snakes, and any other accessory necessary for handling books. There are currently more improvements to the model being worked on such as vertical angle adjustment and a wider angle allowance. With this in mind, the proposed cradle intends to enhance the experience interacting with a book while also being efficient, sustainable, and cost-effective.
 
Download
pdf file
MFT as a Tool for Collaboration with Indigenous Communities   2.48 MB   1 version
Uploaded - 10-03-2025
ERIN MURPHY, JP BROWN, STEPHANIE BLACK | Abstract
 
Download

Related Entries and Links

No Related Resource entered.