ブックタイトルConservation and Restoration of Western Paper

概要

Conservation and Restoration of Western Paper

5. Neevel, Johan G.,“Phytate: A potential conservation agent for the treatment of ink corrosion caused by iron gall inks”,Restaurator, vol. 16, no. 3, 1995, pp. 143-160.6. Tse, Season et al. 2012.“A Comparison of Aqueous Versus Ethanol Modified Calcium Phytate Solutions for theTreatment of Iron Gall Ink Inscribed Paper”, Journal of the Canadian Association for Conservation, vol.37, 2012, pp.3-16.7. Ink Cor Non-Bleeding Indicator Paper http://www.universityproducts.com/cart.php?m=product_list&c=5988. Rouchon, Veronique et al.,“The water sensitivity of iron gall ink and its risk assessment”, Studies in Conservation, vol. 54,2009, pp. 236-254.9. Pataki, Andrea,“Remoistenable Tissue Preparation and its Practical Aspects”, Restaurator, 2009, pp. 51-69.10. Kolbe, Geas.“Gelatine in historical paper production and as inhibiting agent for iron gall ink corrosion on paper”,Restaurator, vol. 25, no. 1, 2004, pp.26-39. Repair tissues are made with very thin papers made with Japanese fibres, such asBerlin Tissue, 2gm/m2, Mitsumata (Suruga), Kozo (Ibaragi) and bast fibres from Japan. Hand-cleaned, alkaline cooked,hand-beaten. Gangolf.ulbricht@p-soft.de See also world’s thinnest Tengu, Hidawashi Co., Ltd. info@hidawashi.com11. Vinther Hansen, Birgit,“Improving ageing properties of paper with iron gall ink by interleaving with papers impregnatedwith alkaline buffer and antioxidant, Restaurator, vol. 26, no. 3, 2005, pp.190-192.12. Tse, Season et al.,“Treatment considerations for the Haggadah prayer book: Evaluation of two antioxidants for treatmentof copper inks and colourant”, AIC Book and Paper Group Annual, vol. 31 , 2012, pp. 87-97. See also Trojan-Bedynski,Maria et al.,“The history, conservation and rebinding of an eighteenth-century illuminated manuscript”, Care andconservation of manuscripts 14,Proceedings of the fourteenth international seminar held at the University of Copenhagen17th ? 19th October 2012, Edited by J.M. Driscoll, Museum Tusculanum Press, University of Copenhagen (2014), pp.157-176.13. Iannuccelli, S. and S. Sotgiu 2010.“Wet Treatments of Works of Art on Paper with Rigid Gellan Gels,”The Book andPaper Group Annual, American Institute for Conservation, Volume 29, 2010, pp. 25-39; Iannuccelli, S. and S. Sotgiu2010.“A new methodology for wet conservation treatments of graphic art on paper with a rigid polysaccharide gel ofgellan gum,”Graphic Documents Working Group Interim Meeting ICOM-CC, Choices in Conservation Practice versusResearch, 6 -8 October 2010, ed. L. Watteeuw, (Copenhagen: Copenhagen Royal Library), pp. 47-51.14. Wolbers, R. 2000. Cleaning painted surfaces: aqueous methods. London: Archetype Publications.15. CP Kelco. KELCOGEL Gellan Gum Book, 5th edition, www.cpkelco.com; CP Kelco Product Data Sheet for KelcogelCG-LA gellan gum, www.cpkelco.com.16. For other gellan gum articles, see Botti, L. et al, 2011.“Evaluation of cleaning and chemical stabilization of paper treatedwith a rigid hydrogel of gellan gum by means of chemical and physical analysis”, ICOM-CC, 16th Triennial Congress,Lisbon, 19-23 September 2011, pp. 1-10; Cremonesi, P.2014.“Rigid Gels and Enzyme Cleaning”, SmithsonianContributions to Museum Conservation, Vol 3, 2014, pp.179-183; McCann, J. 2013. Gellan Gum: A New Frontier, Posterat Canadian Association for the Conservation of Cultural Property Conference, 2013; Sullivan, S., S. Brogdon-Grantham,K. Taira. 2014. New Approaches to Cleaning Works of Art on Paper and Photographs, Association for North AmericanGraduate Programs in Conservation) ANAGPIC 2014; Vallieres, J. 2013. Gellan Gum: Investigating Applications as aSolvent Gel, Research Project, Master of Art Conservation Program, Queen’s University, Kingston, 2013.17. Micro-fade testing determines the potential fade rate of inks, dyes and pigments. By performing an accelerated lightagingtest, the time required to fade a pinpoint of ink or colour is measured. A tiny but powerful beam of light shinesdirectly on its target until the unit detects fading. (The light is 40-60X more powerful than the noon day sun, however, thetemperature is <28°C. The average test runs for approximately 10 minutes.) The result is not visible to the naked eye. Theprocess uses a standard scale, the Blue Wool Rating. On a scale of 1-8, 1-3 is the most sensitive and indicates a high riskof fading. Tse, Season and Paul Begin,“Proclamation of the Constitution of Canada: Microfade Testing of Signature Inksand Analysis of the Paper Stock for Library and Archives Canada”, Canadian Conservation Institute, Report No. CSD4804, CCI 122450, 11 January, 2013.18. Anoxic refers to low-oxygen and typically involves using valves to flush the oxygen out of a sealed case, replacing it withan inert gas (usually nitrogen). Because oxygen speeds up the deterioration of organic materials (such as paper), anoxicenvironments provide a good option for slowing deterioration and adding to the long term preservation of the material.Research also indicates that reducing oxygen can increase the light-fastness of fountain pen inks tested by microfading.Lowering RH also increased light-fastness; however, the effect was smaller than removing oxygen.Please see theproceedings from Anoxia and Microfading: the impact on Collection Care, Tate, London, UK, 12-13 September 2011.http://www.conservators-converse.org/2012/02/presentations-from-anoxia-and-microfading-the-impact-on-collectioncare-12-13-september-2011-are-now-available-online/19. http://variguard.com82