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Investigations of the Application of Acoustic Emission Technique to Limoges Enamels for Damage Assessment

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Investigations of the Application of Acoustic Emission Technique to Limoges Enamels for Damage Assessment Investigations of the application of acoustic emission technique to Limoges enamels for damage assessment Jenny Studer Research Project RCA/V&A Conservation April 2009 Abstract The Wernher collection of very important 15-16th century Limoges enamels is on exhibition at Rangers House. It comprises plaques, tazzas, ewers, basins, plates and caskets to salt-cellars. From previous research it is known how vulnerable these enamels are. As they are very sensitive to changes in the environment a suitable monitoring device for assessing instant damage was identified. Acoustic emission is a technique that has been widely used in engineering but has been applied in only in a few cases in conservation. The research project had two different strands: the first was determining the suitability of acoustic emission for detecting micro-cracks in Limoges enamels. Previous to applying the technique on the originals, enamel samples were used in flexure tests and exposed to variations of temperature to assess their response to stress induced deterioration. The temperature and RH distribution in two display cases were measured with data loggers at different points to assess the thermal loading. The second strand consisted of monitoring the showcases with diffusion tubes to assess internal formaldehyde, acetic and formic acids concentrations. High concentrations would cause corrosion of the enamel copper plates. Acoustic emission has proven to be a promising method for determining which parameters play an important role in the deterioration of the enamels in situ. It could be shown that rising temperatures in a showcase do appear to be causing damage to a Limoges enamel. word count 13327 ii Contents List of tables 3 List of figures 4 Acknowledgements 6 Chapter 1 Introduction 7 Chapter 2 Literature review 12 Chapter 3 Limoges enamels 17 3.1 Introduction to Limoges enamels 17 3.2 The manufacture of the enamels 18 3.3 Chemical structure and composition 21 3.4 History and technology of Limoges enamels 23 3.5 Deterioration of Limoges enamels 29 Chapter 4 Acoustic emission technique 35 4.1 Introduction to technique 35 4.2 Fundamental parameters 36 4.3 Sensors and Instrument 37 4.3.1 Couplant 39 4.3.2 Channel Check Test 39 4.3.3 Amplifier 40 4.4 Signal-Based AE Analysis 41 4.5 Pocket AE system 42 Chapter 5 Experimental design 44 5.1 Materials and Samples 44 5.1.1 Enamel test samples 44 5.1.2 Enamels of the collection 45 5.2 Flexure testing 46 5.3 Temperature induced testing 48 5.4 On-site AE monitoring 49 Chapter 6 Methods of Assessment of the enamel showcases 52 6.1 RH/T distribution measurements 52 6.2 Volatile organic pollutants 55 Chapter 7 Results and discussion 57 1 Chapter 8 Conclusion and Further Research 66 Appendices 69 Appendix A 69 Previous research 69 Appendix B 76 Production of the enamel test samples 76 Appendix C 77 Display case specifications and design 77 Appendix D 79 RH distribution graphs of two showcases 79 Appendix E 80 Acoustic emission results and flexure tests 80 Appendix F 83 Suppliers 83 References 86 2 List of tables Table 1 Thermal conductivity of copper and glass 33 Table 2 Thermal expansion coefficient of copper and glass 34 Table 3 Composition of enamel test sample 44 Table 4 XRF Results 75 Table 5 Table of results for leakage rates of display cases 78 3 List of figures Figure 1 Floor plan of the first floor of Ranger’s House 8 Figure 2 The city of Limoges and the Limousin region (www.brittany- 17 ferries.co.uk) Figure 3 Flux as counter-enamel on the reverse of the plaque 20 depicting the Nativity, possibly by Jean Pénicaud, circa 1570 Figure 4 Two-dimensional representation of Glass composition and 22 structure (Fearn, 2008) Figure 5 Plaque of the Betrayal of Christ by the Pseudo-Monvaerni, 25 circa 1480 Figure 6 Detail of paillons on a plaque set in a small casket, by Jean 26 Poilleve, circa 1540 Figure 7 Taza painted en grisaille tinted with Samson the Lion, 28 workshop of Pierre Reymond, circa 1560 (® The Wernher Collection, Source: English Heritage Photo Library) Figure 8 Cross-section of corroded glass (Wypyski, 2004) 31 Figure 9 Enamel expanding and contracting with variable temperature 34 Figure 10 Conventional AE signal features (Shiotani, 2008) 37 Figure 11 Typical AE sensor mounted on a test object (McIntire, 1987) 38 Figure 12 Standard test (Physical Acoustics Limited, n.d.) 40 Figure 13 Pocket AE unit (www.ndt.net) 42 Figure 14 Detail of plaque depicting Thetis emptying a pitcher of water 45 by Pierre Pénicaud, circa 1580 Figure 15 Set up of the flexure test 47 Figure 16 Flexure test with a 3 point bend (www.instron.us) 48 Figure 17 Test set up in the waterbath 49 Figure 18 Sensor applied on Pseudo-Monvaerni and backboard 50 Figure 19 Temperature distribution in the window showcase 53 Figure 20 Temperature distribution in the replica showcase 54 Figure 21 Flexure extension and load of copper test without couplant 58 Figure 22 Flexure extension and load of enamel test with couplant 59 Figure 23 Image of new crack under microscope (original magnification 60 4 40x) Figure 24 AE signals of Channel 1 and 2 during the waterbath test 62 Figure 25 Hits vs time of the Pseudo-Monvaerni test 63 Figure 26 Surface temperature of circular charger by Martial Ydeux dit 68 le Pape (Thickett, 2006) Figure 27 Copper surface temperature measurements in 2004 of the 69 enamel depicting the Betrayal of Christ in the garden of Gethsemane after an engraving by Martin Schongauer in the window showcase Figure 28 RH variations at different points within the large vitrine 70 (Thickett, 2006) Figure 29 Temperature variation at different positions within the large 70 vitrine (Thickett, 2006) Figure 30 Areas of the enamel after an engraving by Martin 71 Schongauer where XRF measurements were taken Figure 31 Areas of the Pseudo-Monvaerni enamel where XRF 72 measurements were taken Figure 32 Enamel test samples, front and back 74 Figure 33 RH variation at different positions within the window 77 showcase Figure 34 RH variation at different positions within the replica 77 showcase Figure 35 Pencil test 78 Figure 36 Flexure extension and load of enamel test without couplant 78 Figure 37 Temperature and RH in the window showcase during the AE 79 monitoring Figure 38 Hits before the lights of the window showcase were switched 79 off 5 Acknowledgements Over the several months of this project I have received assistance and encouragement from a lot of people, to all of whom I offer my sincere thanks. I wish to express my gratitude to my supervisor David Thickett for all his help, information and assistance. Thanks to the Collections Conservation Team, especially Emily Deacon for helping with the experiments. My thanks to Annie Kemkaran-Smith and the staff at Rangers House for their assistance. I have been welcomed and assisted by Hugh MacGillivray at the Imperial College who I thank for helping me with the experimental part of this project. Thanks to Alan Smith who so kindly provided me with copper plaques. Special thanks to Tim Bradshaw for always being available to help and explaining the equipment. I am pleased to acknowledge the help I have received from Boris Pretzel from the V&A Science section for his interest and advice and the use of equipment. I am particularly grateful to Veerle Van der Linden and Eva Annys who provided me with the test samples. I thank the RCA/V&A Conservation course staff, especially William Lindsay for guiding me through this project and providing input and advice. To my parents who I thank for all their immense support all these years. 6 Chapter 1 Introduction This research is about investigating the application of acoustic emission technique to Limoges enamels in order to better understand their deterioration in showcases. Painted Limoges enamels are made from several translucent or opaque glass sheets of different composition, which have been fused onto a thin copper plate. Those enamels can show signs of deterioration, which can be induced through the chemical composition of the enamels, humidity, temperature and atmospheric pollution. Sir Julius Wernher’s collection of early Renaissance Italian art, decorative carved ivories, wood carvings, bronzes, ceramics and jewellery at Ranger’s House since 2002, includes painted enamels of Limoges bought by Wernher between 1895 and 1913 (Thornton, 2002, pp. 10-11). They form one of the main collections of Limoges enamels in Britain. The collection includes plaques, standing cups, lidded ewers, salt cellars, mirror cases, roundels and dishes, polychromed or en grisaille. The Limoges enamels are displayed in three showcases on the first floor which is presented as a museum exhibition, intending to evoke Sir Julius’ original display at Bath House (see Figure 1). One showcase, the replica case is on the west wall of the Red room, the two other showcases are in the Limoges room, called the window showcase on the north wall and the large vitrine on the east wall. Those showcases promoting an atmosphere of a historic exhibition were all constructed for the re- opening of the Wernher collection at Ranger’s House (Stanley et al. 2003, p. 31). 7 Figure 1. Floor plan of the first floor of Ranger’s House This research aims to find out if the enamels in the present situation in the environment of those showcases are stable or deteriorating. Previous work was carried out on some of those enamels by David Thickett (Thickett, 2006) as English Heritage had been concerned about the condition of certain enamels in the collection and different analyses have been carried out, to find out more about their state of deterioration.
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