Housing as a (quite desperate) conservation resource

New artwork arrives at the studio to be ready for an exhibition: pressure, limited time, bleeding inks…
Could it not be some other easier and more showing off artefacts?
Here’s what I do when I don’t seem to find much to do:
Tape removal, and failing to flatten under tension with magnets…
Mounting the artwork on a housing that secured an even tension on the artwork during the exhibition, was the last resource. Continue reading

Gels, microemulsions and nano-systems applied to pressure sensitive tape removal: latest updates

Tape removal, chemical and physical gels, microemulsions and much more. Review and abstract of the conference “Nanosystems. Application to tape removal on cellulosic supports,”, which took place in Madrid (Spain), on June 6 to 8th, 2018; within the context of NanoRestArt, the european Research and Developement project. Continue reading

Sōkō conservation for oversized sketches by Sorolla

Sorolla sketches represent the spontaneity, the genius and the creative stage for its own right. Their conservation shares with them this essentiality, the minimal intervention character. The restoration has adopted japanese tools and techniques, a paper conservation at the most eastern style. Or not that utmost, since the Karibari was replaced by a wooden board. Eastern or western, the restoration of the gouache sketches has been truly remarkable, and you’ll have to read it to know why. Continue reading

The diplomatic neutral colour

What is a neutral colour?
Is it a pH=7 colour? A transparent colour? Greenish… brown? An oil colour… or maybe acrylic?
Conservators mean by it: “I will paint the missing area with a single colour which you won’t see much”. It can be green, purple, pencil coloured or either with acrylic paints… Controversial is on the cards and whatever we do, even when not doing anything at all, conservators know that our decision will not suit everyone’s taste. Continue reading

Conservation of ‘The Disasters of War’, by Goya

There are all sorts of projects, and when Mr. Goya knocks at the door, the red carpet is ready to receive him at the studio: Please, come in!
The Disasters of War by Francisco Goya arrived at the studio in a fairly intact condition, with its 80 etchings, corresponding to the very first edition (in later editions two more etchings were added, making a total of 82). This first one was edited in 1863, more than forty years after Continue reading

Bibliopaths: The case of the lacquer binding

Are we supposed to fear bibliopaths? Or maybe we should give them an award? Who are they? Atention! Because they can be among us, or we might even be one of them?! I invite you to read the Case of the Lacquer Binding to know more about them Continue reading

New conservation methodolgy to retrieve lost flexibility to brittle tracing papers

Approach to a new methodolgy to retrieve the lost flexibility to brittle papers.
Tracing papers -so usual among technical drawings- have in common their transparency, but there are significant differences in the process to make them. The properties and behavior will be very different then. Impregnated papers, for an instance, were applied oils or varnishes to provide them translucency.
Explanation restoration of several drawings in which the varnish was removed to replace it later. Continue reading

Who says BluTack® is ideal for papers?

BluTack in papers? Never!
Restoration of a document from industrial heritage with a stain from this adhesive, property of the Municipal Archive (Barcelona) Continue reading

Conservation of school poster from spanish civil war period

This map represents the typical scholar posters: with its wooden slats to roll and hang, lined on the back. It was very common to varnish them with shellac to waterproof and protect them from abrasion. This one was made of two pieces of printed paper, sticked together along the central horizontal stripe. It is from 1936, spanish civil war was barely breaking.
Removing the old varnish has allowed to repare other minor damages: tears, gaps and wrinkles. But most important is that the new varnish is not oxidizing nor yellowing. As it is very flexible it will not crack in the future. Continue reading