BOOK OF ABSTRACTS Editors Vincent Cattersel & Sophie Glerum March 2022
The ConNext 2022 Conference is organised by In collaboration with
Introduction Last year the ConNext or ‘Conservation by the Next Generation’ Student Conference was launched successfully. ConNext 2021 welcomed and embraced over 320 participants from 30 educational and research institutes residing in 12 different countries. After this overwhelming success, we are delighted to announce ConNext 2022. For the second time, the conservation departments of the University of Antwerp (UAntwerp), University of Amsterdam (UvA), Cologne Institute of Conservation Sciences (CICS) of the TH Köln – University of Applied Sciences, University of Applied Sciences and Arts Hildesheim (HAWK), the University of Applied Sciences Potsdam (FHP), the University of Lincoln (UoL) teamed up to be reinforced by the kind participation of West Dean College (WDC) and the Polytechnic Institute of Tomar (IPT). Our mission is to organise ConNext as a free and informal platform where we get to know each other and learn from one another. Yet, ConNext would not have been possible without the hard work from YOU, our students and alumni. You made and shaped ConNext, and one thing is clear, you are incredibly passionate and determined to lay the foundations for a bright future for yourself, our heritage and future generations. Thank you! We are grateful to our keynote speakers for their eagerness to participate in the ConNext 2022 Student Conference Sessions. From Session 1 to Session 5, we thank Paul Van Duin (Rijksmuseum Amsterdam) and Arlen Heginbotham (J. Paul Getty Museum), Roger Griffith (private conservator, Two Sticks Inc.), Erma Hermens (Hamilton Kerr Institute; The Fitzwilliam Museum), Stefanie Auffret (Getty Conservation Institute), and Lucretia Kargère (The Metropolitan Museum of Art). Finally, we want to thank our institutes for supporting us in organising this event. We wish you an inspiring and fruitful first ConNext Student Conference! Vincent Cattersel (UAntwerp) and Sophie Glerum (UvA) Julia Schultz (HAWK) Friederike Waentig and Andreas Krupa (TH Köln – CICS) Angelika Rauch and Jörg Weber (FHP) Henning Schulze (UoL) Shayne Rivers (WDC) Ana Bidarra (IPT) Notes
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Contents SESSION 1 – UNDERSTANDING OBJECTS PROGRAMME 3 PAPER: Miriam Gáyer (HAWK) Armillary sphere: celestial bodies and orbits - Technological examination and conservation concept. 4-5 PAPER: Joana Lourenço Carmo (IPT), Luís Soares (Nacional Palace of Pena, Parques de Sintra – Monte da Lua, S.A. / IHA – Nova University Lisbon), Fernando Antunes (Techn&Art, IPT) The fall-front cabinet for honorific orders of King D. Luis I (1838-1889): examination and conservation treatment. 6-7 POSTER: Nuno Miguel Ramôa Teixeira (IPT) Identification of tools used in an 18th century Portuguese altarpiece. Comparative study using contemporary illustrations. 8-9 PAPER: Emma Callaghan (UoL) RML 497: the making of a museum ship. 10-11 SESSION 2 – MODERN MATERIALS PROGRAMME 15 PAPER: Astrid Beling (TH Köln – CICS) Solvent-free epoxy resins for consolidation of heavily degraded wood. 16-17 PAPER: Welmoed Kreb (UvA) A cellophane rush seat: art-technological examination and conservation treatment of a Superleggera side chair seat. 18-19 PAPER: Janna Simone Mostert (FHP) Exploring conservation and restoration techniques for plywood or laminated wooden objects: possibilities of re-adhering. 20-21 PAPER: An Jacquemain (UAntwerp) 22-23
Understanding decorative laminates. SESSION 3 – RARE AND PRECIOUS PROGRAMME 27 PAPER: Alex Verlinden (UAntwerp) The identification of sea turtle shell used in 17th and 18th century Antwerp cabinets. 28-29 PAPER: Vadim Van Meenen (UAntwerp) Reconstruction of turtle shell imitation techniques on 17th and 18th century Flemish Cabinets. 30-31 POSTER: Johanna Haas (TH Köln – CICS) Presentation of a powder flask - Object biography, manufacturing technique and art-historical background. 32-33 PAPER: Mair Trueman (UvA) Craftwork for the ages: a timeline of Ancient Egyptian woodworking techniques. 34-35 PAPER: Emily McClain (Winterthur Museum) Nothing is as it seems: investigations into a 17th century kas. 36-37 SESSION 4 – CONSERVATION CONVERSATION PROGRAMME 41 PAPER: Marisa Zengin (FHP) Rare fragments of a 17th century panel painting. Examination, treatment and digital visualisation of presentation options of a “Last Supper” scene. 42-43 PAPER: Mafalda Sofia (IPT) Printing cultural heritage – Preservation of the past through 3D technologies. 44-45 POSTER: Rafael Sousa (IPT), Fernando Antunes (Techn&Art, IPT) The use of 3D representation software as a support tool for volumetric reconstitutions on furniture interventions: the case of a 17th century vestry cabinet. 46-47
POSTER: Daniela Reis (IPT) Saint Prevention. 48-49 POSTER: Filipa Santos (IPT) Restoration or restyling? The code of ethics that tells them apart. 50-51 PAPER: Astrid Beling, Charlotte Hoffmann, Ronja Fröhlich (TH Köln – CICS) Conserving, connecting, communicating – Improving public engagement with conservation. 52-53 SESSION 5 – DECORATIVE SURFACES PROGRAMME 57 PAPER: Mena Freystatzky (HAWK) Survey on the correlation of painting technique and craquelure, shown on selected X-ray images of the Thomas Brachert archive. 58-59 PAPER: Alma Ben Yossef (TH Köln – CICS) Korean mother-of-pearl lacquerware (Najeon Chilgi): an art-technological investigation of a Joseon dynasty clothing box from the collection of the Museum für Lackkunst in Münster. 60-61 POSTER: Inês Mariana da Silva Cavaco, Fernando Antunes (Techn&Art, IPT) The conservation and restoration of three coats of arms in gilded and polychrome wood carvings, from the Convent of Christ, Tomar, Portugal. 62-63 POSTER: Xavier Pedrosa (IPT) The challenges of cleaning an 18th-century polychrome high relief with sgraffito. 64-65 PAPER: Vitória Vilasboas, Francisca Lemos (IPT) The patterns hiding underneath: the intervention of a wooden sculpture from the baroque era. 66-67 PAPER: Irene Meneghetti (FHP) “Xylography”, an historical transfer printing method on wood. Research and replication, based on two side tables attributed to Joseph Schneevogl. 68-69 - ♥ -
Notes ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
1 4 APRIL 2022 HOSTED BY SOPHIE GLERUM VINCENT CATTERSEL
2 Notes ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
3 19:00-19:20 KEYNOTE BY PAUL VAN DUIN Head of Furniture Conservation Department, Rijksmuseum Amsterdam 19:20-19:35 PAPER: Miriam Gáyer (HAWK) Armillary sphere: celestial bodies and orbits – Technological examination and conservation concept. 19:35-19:50 PAPER: Joana Lourenço Carmo (IPT), Luís Soares (Nacional Palace of Pena, Parques de Sintra – Monte da Lua, S.A. / IHA – Nova University Lisbon), Fernando Antunes (Techn&Art, IPT) The fall-front cabinet for honorific orders of King D. Luis I (1838-1889): examination and conservation treatment. 19:50-20:05 Q&A 20:05-20:15 BREAK 20:15-20:20 POSTER: Nuno Miguel Ramôa Teixeira (IPT) Identification of tools used in an 18th century Portuguese altarpiece through period illustrations. 20:20-20:35 PAPER: Emma Callaghan (UoL) RML 497: the making of a museum ship. 20:50-21:00 Q&A AND CLOSING REMARKS
4 Armillary sphere: celestial bodies and orbits Technological examination and conservation concept KEYWORDS: Armillary sphere; plywood; paper with gravure printing; metal; conservation. The armillary sphere, which is part of the collection of the Museum Bückeburg in Lower Saxony, Germany, was made around the beginning of the 18th century. It is believed that it was made together with a celestial globe and an earth globe by the Homann publishing house in Nuremberg for the princely house of Schaumburg-Lippe. Armillary spheres were utility objects of science, used to represent the circular movements of celestial bodies. The combination of the materials wood, paper and metal makes the armillary sphere an object that is very rarely found in German museums as the collections largely contain drawings, reconstructions and brass armillary spheres. Due to the long time in storage and the age of the armillary sphere, the materials show different damages and soiling, which strongly influences the image of the object. Therefore, one of the first steps was the development of a cleaning proposal that would do justice to all materials without risking damaging any of them. In addition to the variety of materials, a special form of woodworking is found on the circular parts of the armillary sphere. These were made of plywood. The technique of gluing thin layers of wood together in the direction of the grain was already a common method in furniture making in the 18th century. This technique produces not only decorative but also stronger pieces than if they were cut from solid wood. Only very limited records and literature can be found on the production of this type of wood material at the time, and these are often not precise. For this reason, it was necessary to reconstruct the production in a test series, which brought interesting results. miriam.gayer[at]outlook.com
5 Top: View of the armillary sphere from the southeast. Bottom: Result of the dry cleaning of the paper
6 The fall-front cabinet for honorific orders of King D. Luis I (1838-1889) Examination and conservation treatment KEYWORDS: Victorian Style; 19th century furniture; furniture to contain and transport of jewels; fallfront cabinet; furniture conservation-restoration. The fall-front cabinet for honorary orders of King D. Luís I (1838-1889), from the collection of the National Palace of Pena (PNP2136), Sintra, Portugal, was in a bad state of conservation since it has never been restored before. For that reason and because of its uniqueness, and historical value, a conservation and restoration intervention with an historic, artistic and technological investigation was developed as part of a master’s internship in a partnership with Parques de Sintra-Monte da Lua, S.A., and the Conservation and Restoration Laboratory of the Polytechnic Institute of Tomar. As an historical-artistic furniture, typologically, is a container with the purpose of transporting jewellery, insignia and royal decorations. Suggesting a Victorian Style, it has a rectangular parallelepiped shape, with a front-hinged door, five internal drawers, all with metallic handles and decorated with paper and a blue velvet fabric, in the lower drawer, which covers the basrelief of two necklaces referring to two honorific orders. On the outside, metallic accessories can be seen on the edges, in the decorative friezes, in the King's monogram, on the top, and two side handles, which present a chiselled decorative simplicity, with symmetrical and geometric lines of vegetal motifs. With macro and microscopic examination, we could identify wood, metal, paper and fabric, as well as the use of different constructive and decorative techniques like glued assemblies; dovetail constructions; the application of metallic accessories for fixing and articulating; decorative pieces and accessories with inlays, cut and chiselling techniques. Infrared spectroscopy (FTIR) examinations allowed information about the bonding adhesives, and the energy dispersive x-rays fluorescence (EDXRF) the identification of brass alloy. The major intervention consisted in cleaning the wooden surface and the metal accessories, and in the structural stabilisation of drawers, with the removal and replacement of corroded mild steel nails for wooden dowels. The paper and fabric were mechanically removed, and the paper treated in a water immersion, following by the consolidation of the tears and filling the gaps with Japanese paper toned in a similar colour, on both, finalised with the application of a protective and finishing layer with French polish. joana.carmo9[at]gmail.com
7 Top: Case before intervention. Bottom: Case after intervention.
8 Identification of tools used in an 18th century Portuguese altarpiece: Comparative study using contemporary illustrations KEYWORDS: altarpiece; woodcarving; tools; 18th century; contemporary illustrations. This work was developed during the curricular internship, integrated in the Conservation and Restoration Master’s Degree of the Polytechnic Institute of Tomar (Portugal), that took place in the private company Cinábrio – Conservação e Restauro. The studied altarpiece belongs to the Sacristy of the Convent of Santa Clara’s church, in Oporto, Portugal. It’s from the second half of the 18th century and combines a late-baroque structure with rococo woodcarving decorations. It presents different polychromies imitating various types of coloured stones in the background areas, while the carved decorations are mordant gilded. A holistic comprehension of the altarpiece is necessary and for that, one of the most important features is the knowledge of the tools and techniques used in its manufacture. The main goal of this presentation is the identification of the tools used in the making of this piece, through the comparison with contemporary illustrations (18th century). The back of the boards was observed, and its marks documented and compared with the illustrations. These illustrations mainly show work processes and tools used in the carpentry and sculpture workshops. Though these images aren’t specially related to the assemblers and woodcarvers, we believe that the way they worked was very similar. It’s important to see conservation and restoration interventions as an opportunity to study artworks with greater depth. This study enlightens a group of details that aren’t observable at first sight because it is necessary to see the back of the piece which is, in most altarpieces, only possible with its total or partial dismantling. It also helps in the process of knowledge, which is, in our opinion, a fundamental step in the decision-making process about the methodology to adopt during a conservation and restoration intervention. nunomrt.1996[at]gmail.com
9 A B Top: Altarpiece from the sacristy of the convent of Santa Clara’s church, in Oporto, Portugal. Bottom: Figures A, B and D from André Roubo’s work (L'art du Menuisier). Figure C from Diderot and D’Alambert encyclopedia (Menuiserie, Marqueterie). Figure E and F - Marks from the use of saws on the back of the studied altarpiece. E F C D
10 RML 497: the making of a museum ship KEYWORDS: Historic boats; rescue motor launch 497; World War Two; stabilisation; maritime conservation. A conservation project involving a historic boat is one which hinges on multiple conditions and circumstances - time, money, expertise, and knowledge of the boat itself, to name but a few. So, what happens when we do not have some of these luxuries, and time is of the essence to save the only remaining example of a boat of its type? Rescue Motor Launch (RML) 497 is a mahogany-built World War Two boat, and operated primarily along the south coast of the UK as part of the Coastal Forces branch of the Royal Navy. These were small boats tasked with defending British coastal waters; RML 497 acted as a ‘floating hospital’, rescuing and caring for downed airmen. The manufacturing of these boats has been likened to the modern ‘flat-pack’ method; boatyards would be sent parts in multiple packages, with staggered delivery and detailed plans for assembly. After WWII, RML 497 was used as a passenger ferry along the south-east coast of England, until being purchased by the National Museum of the Royal Navy as one of the last surviving examples of a Fairmile B-type, and as a representation of the Coastal Forces flotillas. She now sits in a temporary structure at the site in Hartlepool, awaiting a substantial conservation project which will see her displayed to the public inside a new museum building. This presentation will explore the stabilisation phase of the RML 497 project. One of the first tasks was to remove years’ worth of marine growth from her hull, revealing the red anti-foul paint below green algae and clusters of mussels. The drying out process was slow yet necessary, and was monitored, whilst fungal infestations also needed to be dealt with. Although a final decision on what the future of RML 497 might look like has yet to be made, we have used this time to gather knowledge about the boat, her history and condition by commissioning paint analysis and a comprehensive Conservation Management Plan. What these surveys and documentation might mean for a future conservation project will also be considered. emma.callaghan[at]nmrn.org.uk
11 Top: Arrival in Hartlepool. Bottom: Hull cleaning.
12 Notes ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
13 11 APRIL 2022 HOSTED BY SHAYNE RIVERS ANGELIKA RAUCH
14 Notes ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
15 19:00-19:20 KEYNOTE BY ROGER GRIFFITH Modern and Contemporary Art Conservator, Two Sticks Inc. 19:20-19:35 PAPER: Astrid Beling (TH Köln – CICS) Solvent-free epoxy resins for consolidation of heavily degraded wood. 19:35-19:50 PAPER: Welmoed Kreb (UvA) A cellophane rush seat: art-technological examination and conservation treatment of a Superleggera side chair seat. 19:50-20:05 Q&A 20:05-20:15 BREAK 20:15-20:30 PAPER: Janna Simone Mostert (FHP) Exploring conservation and restoration techniques for plywood or laminated wooden objects: possibilities of re-adhering. 20:30-20:45 PAPER: An Jacquemain (UAntwerp) Understanding decorative laminates. 20:55-21:05 Q&A AND CLOSING REMARKS
16 Solvent-free epoxy resins for consolidation of heavily degraded wood KEYWORDS: Epoxy resin; wood consolidation; material testing; Anobium punctatum; woodworm damage. The study aims to select and further assess solvent free and low viscosity epoxy resins for consolidating wood severely degraded by insects. Epoxy resins are rarely used as consolidant for degraded wooden objects, even though several studies have demonstrated that they can increase the mechanical properties of the consolidated wood significantly better than e.g., polyacrylates in solution. Reasons for the rare use include concerns and prejudices on high viscosity or cure temperature. Epoxy resins are also often diluted with large amounts of solvents to reduce viscosity and reactivity. This causes problems like high level of resin shrinkage upon cure or an incomplete curing process that can be mitigated by selecting a solvent-free epoxy resin system. In a first step, a number of epoxy resin ‘candidate’ systems were composed from different types of epoxy resins, amin curing agents and epoxy-based reactive diluents. In order to identify the most suitable mixture, the different epoxy systems were consequently tested against conservation relevant criteria, such as viscosity, glass transition temperature, penetration characteristics and reaction temperature within wood. In addition, increasing the strength of degraded-consolidated wood, was considered. Tests and experiments were carried out for the epoxy resins itself as well as when applied to specimens from Scots pine (Pinus sylvestris), degraded by larvae of Anobium punctatum. The epoxy resin that showed most suitable results consisted of diglycidylether of bisphenol A and F, diluted with the reactive diluents neopentylglykol diglycidylether and alkyl (C12-C14) glycidylether and using a curing agent out of polyoxypropylenediamine derivatives. It was selected for in-depth analysis and testing to assess its processing characteristics. Effects on resistance to pressure and bending, elasticity and moisture sorption and swelling of the consolidated anobium-degraded wood were also assessed. Results reveal that the selected epoxy resin possesses good processing properties and disperses well within the specimens because of low viscosity and low reactivity. Moreover, it cures reliably at room temperature without relevant shrinkage. The mechanical properties of the consolidated wood improve significantly, without undesired stiffening, even though moisture sorption and swelling increase slightly. astrid.beling[at]gmail.com
17 Top: Testing of consolidated wood. Bottom: Samples of the specimens from Scots pine.
18 A cellophane rush seat Art-technological examination and conservation treatment of a Superleggera side chair seat KEYWORDS: Cellophane; chair seat; conservation; rush seat; superleggera. Halfway in the 20th century the material cellophane was used for making chair seats in a similar way as natural rushes and paper are used for making chair seats. These rush seats have often been discarded and replaced with new material when they were degraded and worn. As a result, few cellophane rush seats survive. In this paper the research into the construction and conservation treatment of a cellophane rush seat is discussed. The object involved is a Superleggera side chair, model 699, designed by Gio Ponti and manufactured by Figli di Amedeo Cassina. The research was carried out in the context of a postmaster’s thesis at the University of Amsterdam with assistance of the Dutch Cultural Heritage Agency. Art-historical research has been combined with the making of a reproduction of the seat to give insight into possible manufacturing methods and possible original appearance. FTIR analysis revealed that the strands of the seat were made up of genuine cellophane film coated with cellulose nitrate. 5 strips of this coated material have been twisted to make a shear endless coil with which the seat has been braided in much the same way as paper rush seats are braided. The coils of the object in research were worn, discoloured, brittle, some strands were broken and some were missing. To replace missing original material the materials cellophane, polypropylene terephthalate, polypropylene, polyethylene, goldbeaters’ skin and Japanese tissue paper have been tested. As attachment methods the following were tested: stitches with hair silk, splints from nylon and aluminium, and the adhesives Plexisol, Plexigum, Paraloids B72, B67, F10 and Beva 371 and Evacon R in combination with bandages. Tests were executed on an aged mock-up of the seat. This research has given insight into the nature and construction of this cellophane seat. The most severe damage of the object was successfully threated using cellophane and Japanese tissue paper saturated with Paraloid B72 to reconstruct coils and molten Beva 371 in combination with cellophane bandages for attachment. However, the wear, discoloration and embrittlement were deemed untreatable. The treatment therefor will not allow continued use of the chair. Info[at]welmoedkreb.nl
19 Top: Before treatment. Bottom: After treatment.
20 Exploring conservation and restoration techniques for plywood or laminated wooden objects Possibilities of re-adhering KEYWORDS: Ply- Laminated wood; re-adhering; adhesives; testing adhesives. The mechanised production of veneers has revolutionised the production not only of furniture, but also aeroplane, automobile, train carriage and boatbuilding industries in the early 20th century. Wood based materials, such as ply- and laminated wood have been engineered to provide excelled strength and stability to a shape or board. Using veneers, 3-dimentional shapes with much sharper curves can be achieved. The use of ply- and laminated wood also means a reduction of weight and material loss. Early ply- and/or laminated wooden pieces pre-dating 1930 are often produced using animal and plant-based adhesives. However, to achieve even more durable and resilient products, artificial adhesives such as Urea-Formaldehyde, Phenolformaldehyde and Melanin formaldehyde were mainly used in the later manufacturing phase. Although a very durable and resilient product, quite severe damages occur that prove to be very destructive and difficult to restore. Because of the nature of the material build-up these objects may require an alternative approach to the treatment of a piece made from traditional materials. The aim of the research to be presented was to examine and explore materials and methods of both irreversible and reversable nature and to evaluate the choice of adhesive used in restoration and interactions between old and new bonds of re-adhered delaminated plywood and of re-joined split pieces. Seven adhesives were selected including fish glue, Paraloid B72®, Mowital B30® (polyvinyl butyral), UHU® Wood glue D3 (polyvinyl acetate), ‘water resistant’ casein, polyurethane and an epoxy, and tested by treating a range of damages induced to plywood structures. Accelerated aging tests, using a climate cabinet and glue shear tests were applied, to ascertain the strength of the bond. During the evaluation of the samples, it became apparent that adhesives generally seen as “acceptable” in conservation might not be as compatible with ply- and laminated wooden structures. janna.simonemostert[at]gmail.com
21 Damaged plywood before treatment.
22 Understanding decorative laminates KEYWORDS: Decorative laminates, technical study, art history, melamine, Formica. Decorative laminates (DLs) are constructed of fibrous sheet material finished with a decorated surface. Ever since their introduction in the 1930s, the DLs’ popularity has taken off. Their relatively low production costs, high durability, functional and decorative versatility – allowing for combining complex surface structures with complex prints – made this a highly favourable material in interior/exterior decoration from the second half of the 20th century onwards. Today, its application is more common than ever before. DLs were used for heavyduty surfaces like chair seats, wood-imitation flooring, and kitchen-countertops but also for purely aesthetic reasons like the playful geometric patterns seen on 1980s Memphis furniture. A conservation project of a DL sofa from 1983 by Nathalie Du Pasquier, belonging to the Design Museum Ghent, revealed a knowledge gap for conserving DLs. Since their introduction, a rich variety of production techniques and materials were used. Yet, it also revealed that next to context and use, material-technical aspects, typology, composition, and build-up are very poorly represented in the field of conservation-restoration. Identifying and understanding the materiality of DLs is fundamental for their preservation and treatment. Consequently, first, this master thesis aims to address the question of how to study and identify the materials and techniques of historical laminates from the 1930s to the 1990s. A range of observational (macro/micro) and chemicophysical techniques will be used to identify the physical and chemical build-up of DLs. In addition, these findings will be connected to the history and use of the material throughout time, researched trough patents, archives, etc. The preservation of DLs is becoming a necessity and will be of increasing importance in the future because of their ongoing popularity. In response, first insights in the rich diversity of the materiality and its context will be presented. anjacquemain[at]gmail.com
23 Top: Micrograph of cross-section from a decorative laminate revealing the stratigraphy (5x, dark-field). Bottom: Advertisement for the Formica laminate products.
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25 25 APRIL 2022 HOSTED BY JULIA SCHULTZ HENNING SCHULZE
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