BOOK OF ABSTRACTS Editors Sophie Glerum & Vincent Cattersel April 2023
The ConNext Conference is organised by In collaboration with
Introduction For the third time we are delighted to announce the Conservation for the Next Generation SC toundseenr vt aCtoi onnf e ar enndc eR, eosrt oCr oa nt iNo ne x st t 2u 0d 2e n3 t. sC oa nn Nd eexat r pl yr ocvai rdeeesr apnr oi nf et es rs ni oant iaol sn atlo psl ahtaf roer mt h feoi rr irnennoovwantievdekiedyenaostaensdpefainkdeirnsg. s in several short evening sessions that are preceded by FJ uosrt Cl iokneNl ae sx tt y2 e0a2r3 w, wi teh aAr ne at hBriidl laerdr at of raonmn otuhne cPe osloy mt e ec hnneiwc sI nasbt oi tuutt et hoef CToonmNaerx (t Pi no irttiua gt iavle) ,. we proudly welcome three new institutions to the ConNext family: (1) the University of Dubrovnik (Croatia) with Joško Bogdanović, (2) the Institut National du Patrimoine (France) with Amélie Méthivier and Pauline Chassaing, (3) and the École Nationale Supérieure des Arts Visuels de La Cambre (Belgium) with Marie Postec and Francisco Mederos-Henry. Wi n si tt hi t ut ht eess, et hn ue ws apma rbtint ieorusshl iyp sf u, Cr tohneNr ienxgt iht as s ggoraol wonf bi trsi npgairntgn etro-gneetthwe or r Ck otnos e1 r1v aEtui or onp ae na nd RThesetoortahteironnestwusdeisnttsh, aytotuhneg CporonfNeesxsitocnoanlsc,eapntdhiansstmituattuesr.ed to an elective course at the Ui nn itvheer soi tryg ao nf iAs na tt wi o enrapl , awshpeercet ss t ou fd eonr tgsa anri se i gn igv ean tcho en foepr pe no rc teu. nWi t ye t ow ga er mt al cyt i wv eel lyc oi nmv eo l vt eh de devoted contributions of Emmeline Verheij (Master student, University of Antwerp) and Aspasia Kopsida (Advanced Professional Programme-student, University of Amsterdam). Wt h ee ier x ftierns dt - ho aunr dd ekenpoews tl ae pd pg er e cainadt i oenx tpoe railel nk ceeysn owt ei tshp et ahkee rCsofnoNr et hx te i rc owmi lml i nugnni teys:s t o s h a r e Mounir Bouchenaki, special Advisor to UNESCO for Cultural Heritage, Nadine Thiel (Historisches Archiv der Stadt Köln) and Christiane Hoffrath (University of Cologne), Shane Wiechnik (freelance conservator, Studio Conservation), Nanke Schellmann, (independent conservator and materials scientist), and Emmanuelle Mercier, Royal Institute for Cultural Heritage (KIK-IRPA), Brussels. WCoenNheoxpte2y0o2u3!join us for these passionate and inspirational sessions. See you all at The ConNext Team
Notes ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
Contents SESSION 1 – DISASTER RECOVERY PAGE PROGRAMME 3 Katja Schüller (TH Köln – CICS) – Conservation of a Flood Damaged Object with Coloured Coatings. 4-5 Mario Sebastian Wolter (TH Köln – CICS) – The mechanical removal of sfleodoidm-denamt salgueddgetrounnkpafproemr frAahgrmweeniltesro. f a wooden object – The restoration of a 6-7 Emmeline Verheij (UAntwerp) – Assessing the bioremediation properties of BioORG for the preservation of documentary heritage. 8-9 Josipa Vodopika (UoD) – Conservation-restoration treatments on the lady's table from the library of summer villa Skočibuha. 10-11 SESSION 2 – UNDERSTANDING AND TREATING WOODEN SUPPORTS PROGRAMME 15 Marta Mandić (UoD) – Conservation-restoration of an overpainted 18th- century neoclassical cantilever mirror frame. 16-17 Désirée Kosel (FHP) – Under Pressure: Applying vacuum pressing for the restoration of a baroque tabletop split in two and warped. 18-19 Maria Mafalda (IPT) – Loss Compensation: A comparative study of materials for volumetric reconstruction. 20-21 Ana Fonseca (IPT) – A pedagogical suitcase for wood sculpture. 22-23
SESSION 3 – BINDERS, ADHESIVES AND CONSOLIDANTS PROGRAMME 27 Pia Neitemeier (HAWK) – The adhesive strength of gelatine in comparison to conventional hide and bone glues. 28-29 Ana Oñate Muñoz et al. (ENSAV) – Bonding historical leather bookbindings – A comparative study in search for alternatives to wheat starch paste. 30-31 Nora Stanislawski (TH Köln - CICS) – The Senftenberger-Ei of the designer PtheeteerxGamhypclzeyo-Df aevberlookpemnegnatrodfernecshtoarira.tive measures for joining hard foam on 32-33 Amy Dixon and Jamie Rees (UoL) – Examination and treatment of two 15th century wooden roof angels of the Church of St. Edith, Grimoldby, Lincolnshire. 34-35 Kirstin Friese and Antonia Gerstner (FHP) – Art historical and technological eMxuasmeuinmatBioenrloinf .four wooden architectural elements from the German Historical 36-37 SESSION 4 – SURFACE PHENOMENA: UNDERSTANDING AND TREATING SURFACES PROGRAMME 41 Mafalda Afonso (IPT) – Several faces throughout the time – Decision processes during the treatment of a Baroque polychrome wood sculpture. 42-43 Luisa de Sousa (HAWK) – Zwischgold: characterization and use in medieval wood sculpture in the Lüneburg region. 44-45 Aspasia Kopsida (UvA) – Looking for synthetic dyes on wooden substrate wreistehatrhceh.use of themulti-spectral camera Crime-lite® AUTO: a preliminary 46-47 Pauline Natusch (HAWK) – Surface phenomena of transparent coatings on wood. 48-49 Abi Tudor (TH Köln – CICS) – Reconstruction of missing decoration on an Anglo-Indian Sadeli workbox from the early 19th Century. 50-51 ! "!#!"
DISASTER RECOVERY 4 APRIL 2023 HOSTED BY ANDREAS KRUPA SOPHIE GLERUM
2 Notes ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………
3 19:00-19:20 KEYNOTE BY MOUNIR BOUCHENAKI Assistant Director-General for Culture, UNESCO 19:20-19:40 KEYNOTE BY NADINE THIEL AND CHRISTIANE HOFFRATH Historisches Archiv der Stadt Köln and University of Cologne 19:40-19:50 Q&A 19:50-20:00 BREAK 20:00-20:15 Katja Schüller (TH Köln – CICS) [PAPER] Conservation of a Flood Damaged Object with Coloured Coatings. 20:15-20:30 Mario Sebastian Wolter (TH Köln – CICS) [PAPER] Twhoeo dmeenc ho ab nj ei cc ta l– rTe hmeorveasl t oo fr as et idoinmoefnat fsllouoddg-ed oa mn pa ga epde rt rf ruangkmf reonmt s o f a Ahrweiler. 20:30-20:35 Emmeline Verheij (UAntwerp) [POSTER] Aofssdeoscsuinmgetnhtearbyiohreermitaegdeia. tion properties of BioORG for the preservation 20:35-20:50 Josipa Vodopika (UoD) [PAPER] Cofosnusmermvaetriovnil-lraeSstkoorčaitbiuohnat.reatments on the lady's table from the library 20:50-21:00 Q&A AND CLOSING REMARKS Programme Session 1
4 Conservation of a Flood Damaged Object with Coloured Coatings. KEYWORDS: wall console, coating consolidation, flood-damage, cleaning, conservation. Idne pJ uol ty o2f0t2h1e , ct hi tey wmeus st eouf mG eor fmBaandy Nweausehni at hbry- Aa hf lrowo edi lceart ai ns t rt ho ep hf ee d. De ruarl i ns tga tt he i so fd Ri sha isnt ee lra, nt hde- Pwael raet i ns at ot er ewd a isnf l ao opdreodv. i Ts ihoen awl adt eerp do ta. mHaogwe de vaenrd, da fetsetrr oaypepdr ot hxei mmaut es leyu mt w’ so o wb jeeec kt ss, , ws oh mi c he oC bo jnescet rs vcaotui ol dn .bTehries cmo vaei nr el yd iannc dl usdoems we oofotdheenmo abrj ee cbt es ianngdt rpeaai tnetdi nagtst. h e C o l o g n e I n s t i t u t e o f Tc ahri vs epdr we soeondt ae tni owna ldl ecaolns swo liet hf r tohme trhees uml tuss eo uf mt h de ebpaocth. eDluo rr i’ ns gt ht he es i tsh ae bs iosu, wt ah i 1c h9 ttho ocke nptl ua cr ye iwn i st hp rri enggaor fd2t0o2 2t h, et hsepoebc ji ea cl tcwi r ac us me xsat ma ni cneesd oi nf tdheet aoi lb. jAe fctte' sr whai srtdosr, ya wc oanss ed revvaetl ioopnepdr. oI pn otshael ca opuarrstei aol fatrheias owf ot hr ke , oabpjpercot .pTr hi aet ef otcr ue as tpmo ei nntts mweearseutrhees cwl eear ne i dn eg voefl ot hpee do bajnedc tcfarrormi e dr i vo eurt i on ne sc eo da ti mi n eg ns .t sS aunc cdeps sofl ul ul t ar enst us ,l tws hci oc hu l cda mb ee wa ciht hi etvheed f lboyo dw, aa st ewr -ebl al saes dt hcel ecaonni snogl i da na tdi otnh eo rf mt hael ce ox an ms oi lni de adt iaot nC. oTlhoeg npee rIsni ss tt iet nu tt ed iorft Cd oe np soes ri tvsa at inodn tShcei ierndcief fse ar es nt th ce or emaproensetni ltls qaur ee sst ti iol nl bs eai nn dg some untreated objects left. k.schueller5[at]gmail.com
5 Top: Wall Console (Museum of the City of Bad Neuenahr-Ahrweiler), front, condition before conservation. Bottom: Wall Console (Museum of the City of Bad Neuenahr-Ahrweiler), left side, condition after the treatment m Al e l a im su a r g e e s s . © Katja Schüller, TH Köln – CICS.
6 The mechanical removal of sediment sludge on paper fragments of a wooden object – The restoration of a flood-damaged trunk from Ahrweiler. KEYWORDS: sludge, paper, flood-damage, mechanical cleaning, paper consolidation TT hh ee coabt jaescttrso ps ht oi cr ef dl o oi nd ea vn e nu tn do ef rJ gu rl yo u2n0d2 1d ea pf foe tc t oe fd tthhee Ac iht yr rme guisoenu mo f Go fe rBma adn yN es ue ve enraehl ry-. Ac ahsrewf eo irl et hr ewl ee raet heexrpcoosveedr et od mt r uu dn ka, nwdhwi c aht ea rd df oi tri omn oa rl ley tshuaf nf e tr we do cwo ne es ikdse. rTahbilse wd aa ms aa lgseo dt uh ee tcol e ua nn ci nogn tarnodl l ec do ndsreyrivnagt. i oE na .c hT ht ey pcel eoafn ti hn eg va na rdi ocuo sn smo al itdear ti iaol sn hoaf st hi tes poawpne rr el iqnui ni rge imn seindtes tfhoer bT ohde yp wa rat isctuhl ae rf or ec qu us ior fe tmh ee nptrwe saesntthaet iionnt e, wr nhailcfhr ownat so hf tehl de caot rCpounsN. Te xhti c2k0m2 3u.d c l o d s a d h e r e d tToh ei t sp ap pa ep re rwcaosv ve er irnyga, fwf ehcitcehd tboyr ewi ta ti enrt ,owc ho iul en ttl he es ss ferdaigmmeennt t ss l uc adug seebdybcyo tnht er ai rs ts hwr ai ns kvaegrey. rAecsliestaannint gtomweathteordahnaddottohebresfooluvnedntws.hich was suitable for removing the sludge from the pt haep celro wd si ,t hwohui tc hd ac mo ual gdi nh ag vt eh ec ai russeendsti ht iev ep appr ei nr tt ol acyrearc. kA. nTohteh pe rr epl irmo bi nl eamr y wi navsetsht ieg fartai og ni l si t ay nodf cml eaat enri ni agl twe satss tshheo wc oendstohl ai dt at thi eo nm uo ss itnsgu itthaeb lpe owl yamy et or i fcr ebei nt dh ee rp Ka pl uecreflr oa mn dt ht he ea ds uh be rsienqguseonitl mr eemc ohva endi c aglr acdl euaanl li yn gb yw iut shi nagsac asl pc aellp. eAlf ttei pr pp ri eervci eodu si nf rve ee rzti incga lol yf . tThhe ec ltohdr su,s tt hoefy t hc oeubl dl a db ee ef rnasgumr ee dn ttsh awt ei rt ed ri de tnuor tnceodmt oe ti nh teoi rc oo rni tgai cnta wl pi tl ha cteh, ewphaepreer tshueryf accaen. Sbuebf suerqt hu ee rn tcllye,atnheedp. aTphei sr irse abseocna ,uos teh tehr emmo re et hgoedn ti lse nc ol et asnui int ga bml ee af os ur rreesmaor ve i rnegq au lilr ea dd ,hseurci nh ga sd if ri nt ep ab rl at isctliensg. aFgoern tt sh. i s wolter-mario[at]gmx.de
7 Top: Inside of the trunk, corpus. Bottom: Inside of the trunk, front panel. All images © Mario Sebastian Wolter, TH Köln – CICS.
8 Assessing the bioremediation properties of BioORG for the preservation of documentary heritage KEYWORDS: bioremediation, biodeterioration, preventive conservation, mould, biofilms Hg eenr ei traagl el y lsi bhraarrei et sh, e apr cohl iicvye sp, l aann do f oitmh eprr oi vnisnt gi t ut ht ieo ns su sst pa iencai abliilzi teyd oi fn t hpeaipr ebr uci lodni ns egrsv: abt ei o int el ai tt theerr ct ha sr eo udgohc iummpernotvs i na gr et ht ehier rcel fi omr ae t ep lsaycset de mi ns ot er mmpoovri anrgy t os tnoer wa g, egsr eaennd bruui nl d itnhges .r Ii ns kt hoef bDeoicnugm ee xnpt aorsye dh e rt oi t a cghe ei ms bi ceai nl gadnidg i tpi zheyds imc aol r ef aacst owres l l .t Eh ar gt o mc oany s ei nr vdautcoer s bhiaovdee ge rxapdr ae tsisoend. tAhnednwe ei tdh ftohre sraefceer npt rdoedvuecl tosp tmh ee yn tcsainn ut hs ee fwi ehl di l eo fh caunldt ul i rnagl sheenr isti at igvee mb iocor ko sb iaonl od gdyo, cmuomr ee nbti so. rr ea md i ea dt iioanl . pTr oa kdiuncgt s t ha rees e b et ri ne ng dps u itn o nm itnhde, mmaarskt eert asst ugdreenetn eErmaml teelri nn ea t iVv eesr hteoi j goafmtmh ae cpor on ds eurcvt as :t iBoino OdReGp aAretrmo eCnl et a Un .nTi vheerps irtoyd uocf t cAl na itmw se rt op , c oans tsaeisns ea se r oo snoel s ot hf atthme seet a be oc ol i lzoegdi ci ar tl aEnvdalmuaotuioldn. will be done on what kind of applications are viable for short-term ps pr eo sr ei crivdaatli oanc toi vf i dt yo ciunmt ehne t aervye nhte roi tf ahg ee r. iSt augc eh aosb jief ctths e haanvtiinmgi ctroo bbiea l qauearroasnotl isn ceadn al fetsesre na ci taol anmairtcyh, si vuaclhs at os rwa ga et ebr ol ex ae ks aogreo. nO rt hi fet hs ue rpf ar oc edsu oc tf cs at onriamg ep rsohveel vset so. rIat gs epqe ur faol ri tmy abnycaepwp li yl li nb ge tcelasdteodspaograiuinmst. the three most common fungi on paper: penicillium, aspergillus, and Bs pi or eOaRdGt hwriol lubgeh oa up tp tl iheed aoi rn ot hf et htee sc toi nn tga mi n amt ee rni ta la tr he rao. Cu go hl l escpt ready si na gmapnl eds l ae rt tei nt og bt heeapnraol ydsuecdt wd ei vt he loopptmi ceanl tm. Ti chreo ss ct uo dp yy , f fol uc uo sr ee ss coenn hc eo wm iwc reol ls cBoi op Oy ,RaGn dc acnh wr oamr da toof gf rbai po hd ye gt roa sdtaut di oynmwohuel nd fmuantgearliaalcsthivaivtyinhgapsrbeveieonus(rlye)baecetinvamteodu,ldaendd. how well it can reduce the susceptibility of emverheij95[at]gmail.com
9 Top: Mould damage books. Bottom: Spray application of BioOrg. All images © Emmeline Verheij, Universiteit Antwerpen.
10 Conservation-restoration treatments on the lady's table from the library of summer villa Skočibuha KEYWORDS: restoration, Skočibuha summer villa, dressing table, intarsia, marquetry T1 8h ti sh pc ae pn et ur ri ys . aTbhoeu to bt hj eec ct oi sn st eh rev pa rt ioopne- rr teys toof r taht ei o Dn upbr roocve nd iukr Se coi ennac ed rLei sbsrianrgy tlaobc laet ef rdo imn tt hh ee Skočibuh summer house in Dubrovnik, which was built at the beginning of the 16th ca enndt ut hr ey . 1T9h9e1 bwuai lrd. iTnhge aonbdj ei ct st wf aacsi l it triaens swf eer rr ee ds et ov et rheel ywdoar mk sahgoepd oi fn t ht heeD1e9p7a9r t me aer nt ht qouf aAkret awnodrkRwesiltlobreatcioanrrioefdtohuet.University of Dubrovnik, where conservation and restoration Tl ohcea t teadb. l Te hseu ftfaebr leed haa sl oatnouf ndsat ma bal ge ec odnuset rtuoc tt ihoen i anna dd etqhueaitnef lcuoenndc iet i oo fn sb iionl owg ihciaclha ictt i wv iat ys sauncdhs ea ps ai nr asteecdt s. Ai sl svoi, stihbel eo. rTi ghien at ol pv epnleaet er pwi eacseds aamr ea mg eids sdi nuge. It no smi doei st ht uertea ba lnedt ht eemr epies rpaat pu er er aTnhde kperyohpoolseasl tohfactoanlssoernveaetidotno-rbeestroersattoiroendt. reatment introduced a thorough approach to rTehneo mv aat ii no ng owaol sr kosf cr eo snps ee cr tvi antgi otnh-er ems taoi rna tpi or inn ci ni pt leersv eonf t ci oo nn ss eornv at thi eo nd- rr ee ss st oi nrga tti aobnl ep raar ce t itchee. rr ee mc oonvs at rl uo cf tsi uo rnf aocfe md iirsts ai nngd po av retrsp. aTi nh tei nf gi r, sstt rpehnagst eh eonf i nt hg ea nwdosr tkasb ii lni zc al ut idoens otfhteh er es mt r uo vc taul roef, sour dr fearc et o asnt da r bt owui nt hd t ihme psue rciot ni eds pahnads et hoef trhe emwo voarlk so,f i ti ni as papl sroo pnreicaet es s saur yb st eoqsut er ennt gl tahyeenr sa. nI nd st ht aebri el iczoentshter usct rt iuocnt uarnedatnodn ignl gu eo ft ht he eomr i gi si ns ianl gvve enne ee er sr s. Tahned lraesttopuhc ahsi ne go wf thheer we no rekc ei snscal ur yd. e s josipa.vodopijajv[at]gmail.com
11 Top and bottom: Table before treatment All images © Josipa Vodopika, Sveučilište u Dubrovniku.
12 Notes ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
13 UNDERSTANDING AND TREATING WOODEN SUPPORTS 11 APRIL 2023 HOSTED BY ANGELIKA RAUCH SHAYNE RIVERS
14 Notes ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
15 19:00-19:20 KEYNOTE BY SHANE WIECHNIK Studio Conservation, Sydney, Australia 19:20-19:35 Marta Mandić (UoD) [PAPER] Ccaonntsielervveartimonir-rroesrtforraamtieon of an overpainted 18th-century neoclassical 19:35-19:50 Désirée Kosel (FHP) [PAPER] Ub anrdoeqruPerteasbs luerteo:pAspppl ilty ii nn gt wv aocaunudmwparrepses idn. g f o r t h e r e s t o r a t i o n o f a 19:50-20:00 Q&A 20:00-20:10 BREAK 20:10-20:25 Maria Mafalda (IPT) [PAPER] LreocsosnCsotrmupcteinosna.tion: A comparative study of materials for volumetric 20:25-20:40 Ana Fonseca (IPT) [PAPER] A pedagogical suitcase for wood sculpture. 20:40-20:50 Q&A AND CLOSING REMARKS Programme Session 2
16 Conservation-restoration of an overpainted 18thcentury neoclassical cantilever mirror frame. KEYWORDS: cantilever, frame, wood, conservation-restauration, amalgam, consolidant Ac e cnht ur or yn onl oegoyc lias sps ri ceasle nc taendt iol ef vt ehre cmo inr sr eorrv af rt ai omn e- r ef rs ot omr a tt ihoen tsruema tmmeern tvsi ldl ao nGeuočne ttihć -eG1o8z tzhe-, Ta er ss tt he ne toi.c aTlhl ye mp lierar soirn gi s pp aorsti toi of nt hien o trhi gei nma li di ndtleer i oo fr iAnrvbeonrteotruymo f Pt ha rekv. i lAl al t hf aomu gohu s hf aovr i ni tgs cseetnttiunrgiefosrotfhesiGganmifiecaonftThhrisotnoersy stehreiecso. mplex became widely recognized after being a Tl i kh ee amc ai rnr tohrufsr al ema ev ,e ms , ar do es eot tf ecso, na isfterraoguasl s a, na nd dwf ae lsnt ou ot nws oeoi dt h, edri sdpi lraeycst l dy eccaorrvaetdi v ien ewl eomo ed not sr c2a4skt t i ng ot hl de cl eoamv epso. aPnrdo fai lpepdl i ceydmo an trhe ec tsau, rcf ya mc eao rf et hv ee rfsraa,maen. dT hf aesoc ri an aeml eemnet sn tasr ea rgei l dme addwe i ti nh wfraamlneuthwolhdisleththeeoprilgaiinnaslutrinfa-mceesracruerymaamdealignacmonmifierrroour.s wood veneered with walnut. The Tc ahues emdi rbryo rt hfer awmoeo dwbaos r fi on ug ni nd s we cittsh, daenl aamc ci nu amt iuol na toi of nt hoef vdeinr et , e sr es vseursep es ct rt eu dc t tuor ahla dv ea mb ea eg ne coar un saemdebnyt si, naandde qmu ai st sei nmgi cpr ao rctl si m. Ta thee c wo nodoidt i oannsd, sgt ri ludcetdu rsaul rafna cdems ehcahvaen ibceael nc r caoc mk spilne ttehl ye oT vheer pc oa ni nsteerdv. aAt inodn -t rhees tt ionr-amt i eornc ut rr eyaat mm ae lngta fmo l ml o iwr reodr tshheo wp reodpsoi sganl i foi cf awn ot rf lka kt hi nagt . w a s m a d e aPfat rear l ot hi de iBn-v7e2s t ci goant si oo nl i doaf nt ht es oo lbuj tei cotn. Fwi rist th, t shyer iwn og oe sd. sPt rr ue sc et ur vr ee dw ac os ms tpa ob i loi zr enda mb ye ni nt sj e wc t ei nr ge gs ul ur ef adc we si twh aasnpi mr eaf logr lmu ee db aucski ntgo bi trsu os hr iegsi nwailt ph l sa oc ef t. bT rhi os trloeus ,g ahncdl eaaf nt ei nr gb yo futshi en gf rtohnet cahnedmriecaarl ma nedt hwo di tsh. Fi it r st th et h eb ascukr f ao cf e tsh pe Hf rvaaml uee wwaass tcel es taende, da. f tTehr ewihmi cphr ibnut f foefr tshoel u ot ironna mw ae sn tms afdo er rr ee cc oo nn ss tt rr uu cc tt ieodnu swi negr ed e ma da pd lea s twe irt. hT hsei l oi cvoenrep a irnutbobfetrh, e asnudr f atchees hoarsnba emeennrt es mhoavveed ubsei ne ng aa cmc uemc hualna itceadl md i er tt hoond tohne tghi el dwe do opdaer nt ss wu raf sa cree, mu soivnegda ussui rnggi ct ahles Bc aAl pseol l wv ehni tl egoevl , ear pcahienmt ai cnadl mr e ec tohnosdt r. uTcht ieo nw oorf k t hi se sot irl nl ai nm pe nr ot sg. r eAsl ss oa, ncdo nwsiol ll i idnactliuodne ogf i l tdhi en gm, ri rert oo ru cahmi nagl gaanmd wf uirl tl hbe er performed due to its comprehensive flaking. marta.m0501[at]gmail.com
17 Left: Mirror before treatment. Right: Mirror during treatment. All images © Marta Mandić, Sveučilište u Dubrovniku.
18 Under Pressure: Applying vacuum pressing for the restoration of a baroque tabletop split in two and warped. KEYWORDS: vacuum pressing, plasticisation of wood, warped timber, straightening, softwood A1 7b1a0r ,oiqs uceu rt ar eb nl et lfyr obme i nt hger ‘eMs tuosreeudm. Ts hl aen odbs cj ehcat f st hHoews ssean rKaansgsee lo’ ,f edsitf if me raetnetdt tyop be es of rfodma m1 6a 9g e0s- ca af fuescet edd .b yT hlea rvgeen ec lei rme adt ep i fnl ue cst uu ba tsitorna tse, bs pu lti tt hi ne ttwa bol, eat onpd ibno tpha pr tai cr tusl aarr eh adse fboer emne db aadnl dy bthoewteadb.leAtnoapl.yses, research and practical work were carried out to reshape and re-glue Ct ol ipmbaet ii nc gf l uf uc ltluy agt li uo ne ds itno t thhee df er ap mo te, tchoeuvl de nbeee ri dbeeni nt i gf i eo dn l aysa cpapul si eeds toof ot hn ee ds iadme , aagse w. Be al ls ae sd t oh ne ti nh ve as es i vc oe nadni dt i osnuss taa innuamb lbe e rr eos fh ao pp itni ogn as nwd e sr ter adiegvhitseendi nt hg aot f s thhoeu ltdo pl e wa dh it loe bportehs emr vi ni ni mg at lhl ye rt he es i nr oe suus l ct so adt oi nng' t. Ma lewt haoyds s l ua ss ti nvgeor ny l yl omn go.i sTt uh ree aadnddi tpi or ens souf r he eaarte aonf tde na r ve ca oc umumme npdr ee ds sbi nugt pT rhoi sc epsrsoocne dt hu er eo thhaesr ahl ar enaddayp bp ee ea nr s ctaor br iee da po ruot mi ni s itnhge mp ae sats uwr iet hf o pr opsei rt imv ea nreens ut lrtess, haamp oi nngg. oo tf hAepr sp lai et dt h Se cRi ei jnkcsems uPsoetus md a imn . ATmh set eprrdi na cmi pbl ey Go fe rt th ve avna Gc ue ur vme np ar es sws ienl gl aps raotc tehses Uu nn idveerr st iht ye iwnof loude,nicne souf chheaa twi sa yt ot hpal at stthi cei saed jtohien ilni ggnci ne,l lwu lhoisceh fiisb rreess pcoa nn ssi bl ildee f oorv et rh ee asct ahboi ltiht ye ro of nt hc ee pt rraens ss iut iroeni st ea mp ppl ei erda .t uI nr eo rodf etrh teo l ri ge nd iunc, ef itrhset l by etnhdei nmg ositsrteunr ge t hc oonf ttehnet mo fa tt ehrei awl aono dd tmh eu sg tl abs es icnocorlei nags eadn. dAdf treyri ntgh at ht ea t va abcl eutuomp sihs ocurleda treedm iani napseeraml eadn eanntdl yhf el aatt. a b l e e n v i r o n m e n t . A f t e r Wh ohwi leev ienr , t vheenpe reer ve ido us os f et wx eocoudt i oi sn ss t or af i tghhitse nt eecdh. nTi qh ue eq tuhees tsi ou nb sat rr ai stees wwahs eot ha ke r, itnh et hdi se rciavseed, pa da vr aamn ceet ei tr ws aasr en erceeasl sl ya r tyr taon us fnedr ae br sl et a no dr twh eh ehtyhgerro st choe p pi criot yc eadnudraen hi saost rtoop yb eo f mt hoedmi f iaetde .r iIanl as well as to simulate the experiment. desiree.kosel[at]gmx.de
19 Top: Tabletop before treatment Bottom: Vacuum pressing experiment. All images © Désirée Kosel, Fachhochschule Potsdam.
20 Loss Compensation: A comparative study of materials for volumetric reconstruction. KEYWORDS: sculpture, volumetric reconstruction, materials, comparison, decision-making To bh jee ci tsss uhea so lfo lnogs sb eceonmap ec on ns at et inotni o iuns ct oo pn isce. rDv ea ct ii od ni n ga nwdh reet hs teorr oa tr i on no t ot fo tchorme ep- edni ms aet ne sai ol no sa tl vr eocl uo mn set r iusc tai ocnr urcei qa lu idr ee cs i sgiroena tt hc ar ti t iccaanl ianl tt ee rr ptrheet aat ipopne abrya nt hc ee oc of nasne ravrat two or rakn. dV ot hl uemseatmr i ec rpeacrotincsutlraurclytioinnscsuolpluttuiroens tchaant areevoukseed dfoifrfewroernsthirpe. actions from different observers, II n pardeds iet ni ot ne dt o at htehme oertehtoi cdasl uas pe pd r, tohaec hm aotne r it ahles coapnt ai ol snos vfaorry . vI no ltuhme el a sctoemd pi tei onns aotfi oC no nuNsei nx tg, dMi af fsetreernc tl a3s Ds e st e, cwh en ocl oo ng ideusc. tTe hd i sa ny eeaxr e, rdcui sr ei n gt htahte cAo pn ps ilsi et eddC ionn sceormv aptai or inn ga nt dh eR eussteo roaf t i3oDn pvorilnutminegs. with other commonly used techniques for the reconstruction of missing Tr ehsies acroc mh mi nut on i vc ao tl iuomn eat irmi c s rteoc opnr setsreunctt itohne ar pe spul ilet sd ot bo t apionleydc hi rno tmh ei s we xoeordc i ss ceu, lbput iul tr eosn. To hu er eo xf eJ er sc ui sse Si anlvvoaltvoerdi Ma hu ynpdoi , t rheept li iccaal tci na sget ho fe ae ml e mi s seinntguhsei na rg t Bhaellsda i wn ot hoed ,r iBgahl ts iht ae n®d, Po fa ap ne ri mp ua lgpe, Mo f i ul l si pe u, tth®e, da rnydi n3gDt ipmr ien, tpi nr igc ien, wP Le Ai g. hAt s, ap ne dc t tshseu fci hn aals atphpe ecaorma npcl ee ,xwi t ye roef ct oh me sphaarpe edsa, nt hdederaeswe some final conclusions about each method. mafaldamaria99[at]gmail.com
21 Top: Original object. Bottom: Original object and replicas in different materials: (a) balsa wood, b) Balsite®, (c) paper pulp, (Adl l) iMmial lgi pe su t©®M, aanfda l(dea) M3 Da rpi ar,i nI nt isnt igt ui nt oPPLoAl.i t é c n i c o d e T o m a r
22 A pedagogical suitcase for wood sculpture. KEYWORDS: pedagogy, sculpture, polychromy, heritage Wt h ae t c ai nr e mf oi rn dw ht ha ta ti s anpepaer aur ss , wt hhi se t ph reor j ietc rt :e f ae r sp et od apgeoogpi cl ea, l psl au ci tecsa, soer fhoerr i twa og oe .dI t ssc ublepat rui rneg. Tc ahrivs i np gr otj oe ctthaei md es ctoor abtriooand, cpaassts ti nh ge st he vr oe ur aglhs tt ahgee ms ions ta csocmu lmp tounr et ycpo en sot fr uucstei odn w, for oo md , tt hh ee st ei zcihnngi, qtuhees . pArl et hpoaur agtho trhyi sgirsoau un sde flua lype rr os j eacntdf opr oelvyec rhyr oa mg ey, ,i tasnidn ct hh iel ddhiof foedr et nh ta tdwe ce osrhaot ui ol nd gi sr ot wa r gt he tee sde nf osre cohf ibl de rl leonw. iInt sg aa ni md pi sr ottoe cdt ei ovne,l ot hpa ts ci sh ot ho el dr eeams oo nn stthr iast ipoendsa og or gtioc acl rseuaittec aas ne aacntdivpitryestehravtitnagksecsuplpatrut roef.museum education services, so children can learn about doing alafonseca[at]gmail.com
23 Top: Contents of the pedagogical suitcase. Bottom: Open pedagogical suitcase. All images © Ana Fonseca, Instituto Politécnico de Tomar
24 Notes ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
25 BINDERS, ADHESIVES AND CONSOLIDANTS 18 APRIL 2023 HOSTED BY JULIA SCHULTZ HENNING SCHULZE
26 Notes ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
27 19:00-19:20 KEYNOTE BY NANKE SCHELLMANN Schellmann Conservation, Munich, Germany 19:20-19:35 Pia Neitemeier (HAWK) [PAPER] Tbohneeadglhueessi.ve strength of gelatine in comparison to conventional hide and 19:35-19:50 Ana Oñate Muñoz et al. (ENSAV) [PAPER] Bfoornadltinergnhaitsitvoersictaol wlehaethaterstbaorochkbpiansdtien. gs – A comparative study in search 19:50-20:00 Q&A 20:00-20:10 BREAK 20:10-20:25 Nora Stanislawski (TH Köln, CICS) [PAPER] Tr ehset oSreant fi tveenmb eeragseurr-eEsi foof rt hj oei ndiensgi ghnaerrd Pf oe taemr Go hn yt chzey e–x aDme vpel el oopfma ebnrtookfe n garden chair. 20:25-20:40 Amy Dixon and Jamie Rees (UoL) [PAPER] Et hxea mC hi nuar ct iho no faSntd. Et dr ei taht ,mGerni mt oofl dt wb yo, 1L 5i ntchocl ne ns ht ui rrey, wU Ko o. d e n r o o f a n g e l s o f 20:40-20:55 Kirstin Friese and Antonia Gerstner (FHP) [PAPER] Ae lretmhei snttosrfi cr oa lma nt hdet eGcehrnmoal ongHi ci as tl oerxiac aml iMn autsi oe unmo fBf oe rulri nw. o o d e n a r c h i t e c t u r a l 20:55-21:05 Q&A AND CLOSING REMARKS Programme Session 3
28 The adhesive strength of gelatine in comparison to conventional hide and bone glues. KEYWORDS: gelatine, adhesive strength, wood bonding, tensile shear testing, hide and bone glue Fc oomr mt hoen lcyo nusseerdv.a tTi ohne s oe f awd oh oe ds i vaens d a fruer nbi ot ut hr e pcroont ev ienn- tbi oa sneadl , hai ds e i sa ngde l abtoi nn ee , gwl uhei sc ha ri es choomw me voenr l fyi lut es reeddafsr oa mn aadchc oe smi vpea ni ny ipnagp seur bcsotna snecrevsaat inodn i. sDtuhrei rnegf omr ea npuufraecrt .uUr innl gi k, eg ehl iadt ei naenids bs uoint aebgi lliut ye so, fi tg ei sl aat ilns oe aa sv aai lna baldehiens i dv ei f f feorre nwt oBoldo-ocmo n- vs earl uveast i. oInn, toerndseirl e t os hde ea tre rt ems itns ewtiht he bFoorndceodmsppaercaimbleenrsewsuelrtes,dtohnree.e hide and bone glues from different companies were sv ea ll eucet ei nd d, ai csa wt ees l lt ha es tgherl eree gs iesltaatni nc ee sowf ai tnh at hd eh eBsl iovoem. A- vs atlhuee sB 1l o0o0m, 1- v8a0l ua en di n2c 4r e0a. sTehse, sBol odoome s- tchoen caednht reastiivoen ss t1r5e n%g t, h2. 0A%l l anni nde2 5g l u%e.sTwh ee rree spurl tei pn agr2e7d0i ns p edceimmiennesr awl iezreed bwo nadt eerd iunn dt heer tUhnei vsearms i tey coof nAdpi tpi ol ine sd bS cyi eenmc epsl)o yainndg pt uh lel e d" S aq pu ae retz yu"s i nwgo ot hde pt er ensssi l e( ds ehveealro pmeedt hboyd Ba fet renr hTahveinregsdurlitesdclienacrolynssthaonwt ctlhimatatthe.e adhesive strength of gelatine is comparable to that of hB il do eo ma n, de xbcoene ed sg laul el sb oa nn ed ge lvueens .t eHni dd es tgol ueexsc ei ne dg et nh ee ri ra la dh ah de sai vhei gs ht reernagdt hh .eEs ivveen sgt re el antgi nt he , t 1h 0a n0 bA ol lnien gallul ,etsh be uht i dg ee l ag tl ui nees, t2e4n0d eBdl otoomh, a2v5e %a hai cg hh ieerv ae dd htehsei vhei gsht rees nt gatdhh tehs ai vne t shter ebnognt eh golfuaelsl .. Ac absoeuot f haa bl f oonf dt ihneg si anmc op nl esse sr hv aotwi oend, tshueb satdr ha et es ifvr ea cstuurrfeasc ea fsthe or ut hl de bt er enas ki l ei f sthheeaor bt jeesct ts .bIrne at hk es at egsatisn o. Mn ebaonnidnign gt hwe ouos de dwci ot hn cgeenl at rt iant ei osnhsowwetrheattoiot shai gdhh.eNs ievveesr tt rheenl egst sh, itsh seus ef f ifci ri es nt ts.eDr iuees toof irtesqpuui rrei tmy eanntds t thher po uo sgshi bci ol i nt yc eonf tfri na teiloyna daanpdt i tnhgei tBt loo tohme -cvoanl us ee ,r vi ta tiiso npaol s s i b l y s u p e r i o r t o cc oo nn vs eernvtai ot inoanl , hf ui dret haenrdi mb opnr oe vgel ud etse.sItns oe rr ideesrsthooeusl tda fbol li lsohwg.e l a t i n e a s a n a d h e s i v e f o r w o o d pia.neitemeier[at]web.de
29 Top: mean values and standard deviations of all measurements. Bottom: samples being clamped using the “Squeezy” wood press. All images: © Pia Neitemeier, HAWK Hochschule fur angewandte Wissenschaft und Kunst. G – Gelatine DJ – Deffner & Johann H – Hide glue K – Kremer Pigmente B – Bone glue M - Märtens
30 Bonding historical leather bookbindings: A comparative study in search for alternatives to wheat starch paste. KEYWORDS: vegetable-tanned leather, adhesive, wheat starch paste, Lascaux, solvent reactivation Hc oi snttoarcitc wa l i tvhewg eattaebr l, ew- thainc nh ecda nl el ea at hdetro itsh ea l ehai gt hhel yr bseecnosmi t iivneg dmaar tkeerri aaln, de smp oe rc ei arl li yg i dw. hWe hn e iant sI tt ai sr ,c hh opwa setveeirs, ownaet eo rf tbhaes me do. sTt hues reedf ot rraed, ii tni vo ensatli ga adthi oe sni vweas si nd bo on oe koannddi fpf ae pr eenr tc oa dn hs eersvi vaet iso inn. order to assess alternatives to wheat starch paste. Experiments were performed on new vegetable-tanned, and historical vegetable-tanned luesaetdh eirns , ac on nd stehrev sa et il oe nc t i wo ne rpee r cf oo rnms i edde ri ne dt ,w gorpo hu apsi en sg. I tnh tehme f iarcsct oprhdai ns eg t ht oe mt haei inr a cdhheems i ivceasl cwoi mt hpooust i tsi oo dn i: upmr oat el gi ni naacteeo)u, sc e( lgl ue ll aotsien ed ea rnidv aItsiivnegsl a(sHs )y, dvreogxeytparbol pe y(lwc ehl el ualto ss tea rKclhu,c we l i®t h Ga ni nd e( Pt ha ar anloolï da®n dBi7n2 ,i sLoapsrcoapuaxn®o l4) ,9 p8 oHlVy -, vLi ansycl a aucxe®t a t3e0s3 (HBVe, vaan®d a3 7m1 i)x, aonf dt haecmr y. lAi cn aedmhpe isri ivceasl eo vf at hl uea pt iroondwu catss c, av ri sr ui eadl oa supt ea ct tt, hei fsf es tcat sg eo bf at hs ee daodnh et hs ievfeo lf li ol mwsi nognc trhi tee rl ei aa:t ehaesresoafma pp lpelsi c-astui oc nh ab sa sl ee adt hmear i nd leyf oornmaa tqi uo na n- , t ai tnadt i va ed heevsai lvuea rt ieosni s ot af nt hc ee . sTthr ee nsgetcho no df ap hs ealseec toi fo tnh oi sf satduhdeys wi v ae ss f o r laenadt ht ehre br ye sTi s- pt aenecl es ttroe nr egpt he at teesdt if no l sdai nmgp. lIens tehxi ps opsheads ea ,nwd en oe vn a- el ux aptoesde dw thoe aa tr tsi tf iacri cahl , awg ehi enagt, s3t0a3r Hc hV me mi x pe dl owy ei dt hdsi or edci ut lmy aanl dg i rneaat ec t, iKv al ut ec edl ®w i Gt h, ai s mo pi rxoopfaLnaoslc, aaunxd®B e4v9a8®H V3 7a1n. d L a s c a u x ® The results of this study were applied to a 16th century printed book with a vegetable- tt ar enantemde lneta wt heerre ctoov er er - epsr teasbelni st hi n gt h ae gc oe nn ne reaclt iroend -breottwdeeegnr at hdea tbi oona.r dT hceo vme rasi na ng do atlhs eobf ot oh ke block, and to attach the leather to the spine. ana.onate.m[at]gmail.com
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