Managers of Decay

Conservation and Restoration Edition 2013 Managers of Decay 2 3

Introduction 4 Here we are!

Jørgen Wadum 10 The management of aesthetics and decay

Norman Tennent 20 Conservation science … or science for conservation?

Summary's 30 Abstracts of both Master’s- and post-Master’s-theses

Team C&R 96 Professors, lecturers and management

Alumni 116 Overview alumni

Colophon 128

2 3 4 5 Introduction Here we are!

4 5 6 7 Here we are!

In 2005, the University of Amsterdam, was sion. Moreover, it is necessary to cultivate sary skills are presented to the students, passed the baton from the Dutch Cultural insight in, and reflection on, the scientific and the insights and attitudes necessary Heritage Agency (then ICN, now RCE) practice and the choices that have to be for a conservator-restorer are cultivated. and the SRAL (Foundation Conservation made when interfering in the materials. During the master phase the students are Studios Limburg) to further develop and The team of the Conservation and restora- confronted with all aspects of the profes- maintain the educational programme for tion department (C&R) teaches the students sion within its role as a scientific discipline. conservator-restorers in The Netherlands. and the ‘conservator-restorers in training’ The students discover and develop their Now that the fourth group has graduated (rio’s) to use an analytical approach which manual dexterity and become aware of the University, we can leave the early hectic will help them develop a critical and the central role of research at all stages of years behind us and take a moment to inquisitive attitude. Curiosity combined the conservation process. The goal of the realize how much we have accomplished. with inventiveness are key principles. master course is not to inform the students Together with our partners, the RCE, SRAL, The programme consists of three about every possible variety on a problem the RMA and many other museums and consecutive phases [table 1]; the minor, they could encounter in their professional institutes that deal with cultural heritage, the master and the post-initial phase, each career, but to teach them a methodology we are trying to establish our Dutch edu- has its own didactical principle. The minor and a critical attitude which enables them cational and research programme in the provides a condensed introduction to sev- to approach problems in conservation and conservation and restoration of cultural eral aspects of the profession: conservation restoration with a scientific attitude and heritage within the international field. In and restoration theory as well as the neces- from a scientific viewpoint. The students’ the last mid-term review of the programme in 2010, the final conclusion of the panel was: “The programme is among the leading conservation programmes in Europe”¹ which gives us enough reason to keep firmly upon this road. By incorporating the programme in an academic setting, the intention was not only to give a boost to the profession of conservator-restorer on the road to emancipation and profes- sionalization, but also to establish conservation and restoration as an independent scientific discipline. The orientation of the educational programme is towards a scientific approach to the profession, and can be seen to be comparable with the orientation of the programme a student follows to become a doctor or a dentist. With each of these educational programmes it is crucial to combine specialist knowledge and manual dexterity with an interdisciplinary approach to the broad issues of the profes-

[table 1] Structure of the UvA C&R programme ¹ Midterm review report, May 2010 p. 5. 6 7 8 9

capabilities for an integral approach to ings will never leave the desk-drawer or conservation problems with all their the hard-disk of the computer, neither the complexities, increases during the master. profession cultural heritage, or society Understanding the ‘why’ and the ‘how’ as a whole will benefit from its results. of the choices they make, the actions they Visibility is therefore crucial. If people undertake, and the relations between are convinced that we have a collective the object, its context, and the scientific responsibility for our cultural heritage, properties of the material, is crucial for then the visibility of research results is in- this approach. The frame of reference they dispensable for our professional colleagues obtain enables the master students to per- and for the keepers of cultural heritage. In form the research for their master thesis order to achieve this, our alumni are the with minimal supervision. best ambassadors. The post-initial phase (PI) prepares the This publication defines the added conservator-restorer in training (rio) for a value of our programme by bringing to professional life as an academically-trained fruition applicable knowledge for the conservator-restorer. During the PI-phase conservation profession. Please enjoy! the focus lies on independent work and the gaining of experience both in the treatment Suzanne Maarschalkerweerd of objects as the undertaking of research. Programme manager Conservation and The first year of the PI offers the rio the restoration of cultural heritage chance to either develop in the broadness University of Amsterdam ■ of the profession, or to specialize. During the internships in the second year the duality of the programme – thinking and doing – is applied in the professional field enabling the rio to develop a working routine while he is confronted with increasingly difficult assignments. These aspects eventually culminate in the writing of a PI-thesis based on a complex and complete treatment. The fact that research is an intrinsic part of academic schooling is something we teach our students from day one of their training. Obviously the research has to be relevant for the profession and for cultural heritage and society in the broadest sense. This relevance is most prominently visible in the choice of the research questions which have a direct impact on the relevance of the results of the research. However relevant the research may be, if the find- 8 9 10 11 Jørgen Wadum The management of aesthetics and decay

10 11 13 The management of aesthetics and decay

[Jørgen Wadum] From a UvA-C&R perspective conservation can be described as a discipline involving examination, documentation, preventive care, and research directed toward the long-term safekeeping of cultural heritage objects. In a collaborative effort with curators / technical art historians¹ and conservation scientists, the conservator-restorers² study the structure of individual objects, materials and methods of fabrication, as well as techniques and materials used in past conservation treatments. This interdisciplinary approach provides not only vital information on the makers’ original intent, but also generates knowledge of the feasibility of possible interventions and the way in which conservation treatments affect the structure and appearance of our heritage.

Conservation-Restoration A conservator is constantly facing new and unique complex challenges, when confronted with condition assessments and eventually a treatment of cultural objects which are open to numerous interpretations and possibilities for their care. Success in caring for and preserving our multifaceted cultural heritage requires an academically trained professional who is able to perceive what the object to be cared for is, where it originates from, the context in which it was made, and the materials which were employed. Furthermore, this perception should be fused with a similarly sound knowledge and understanding of the deterioration and decay mechanisms of the materials and a variety of measures which could be implemented to preserve the object. By contextualising these qualities gleaned from each object or group of objects by means of close scrutiny with the naked eye, through the stereomicroscope or by means of various photographic techniques or advanced (preferably non-destructive) scientific analyses, and placing the results in the broader context of the material and technical development of the artist or craftsman, the conservation documentation reaches a level where the information is sufficient to serve all purposes of understanding and caring for the physical materials which constitute each object. Conservation also embraces preventive conservation, remedial conservation and restoration. Conservation consists of indirect and direct

¹ The term ‘Technical art history’ was possibly for the first time the focus of Beckmann, J., (1739-1811) in his book Einleitung zur Technologie oder zur Kenntniß der Handwerke, Fabriken und Manufakturen … nebst Beiträgen zur Kunstgeschichte, Göttingen 1777. See Koller, M., “Technische Kunstgeschichte” in Forschung, Lehre und Praxis’, in Kunstgeschichte aktuell, Der Verband österreichischer Kunsthistorikerinnen und Kunsthistoriker, vol. XXII (2005) web-publication: http://kunsthistoriker.at/artikel.php?itemid=323&menuid=5&rubrikid=1&pubid=38#top ² The document “The Conservator-Restorer: a Definition of the Profession”, adopted in 1984 by ICOM-CC and succes- sively by ICOM, uses the term ‘conservator-restorer’ as a compromise, as the same professional is called ‘conservator’ in English-speaking countries and ‘restorer’ in those where Romanic and Germanic languages are spoken. In this text, for the sake of simplicity, the word ‘conservator’ comprises both terms and will be used throughout. 13 14 15 actions aiming at retarding deterioration and preventing damage by Integrity of the object creating conditions optimal for the preservation of cultural heritage, It is often true that when a conservator is considering carrying out treat- as far as is compatible with its social use. Preventive conservation also ment of a work of art, the first question that springs to mind is how to do encompasses correct handling, transport, use, storage and display, all it. The greater part of conservation research still focuses on the challenges aspects that require guidelines and procedures based on the physical of the physical condition of the object, the deterioration of materials and behaviour and condition of the objects in question. possible interventions. This question is the key issue for the conservator, Restoration is strongly related to both preventive and remedial arising out of the need to keep an object. Questions such as what we conservation and covers processes of performing changes to an object or should preserve; why we choose to preserve particular objects; and for structure with the aim of facilitating its perception, appreciation and un- whom we treat the objects are challenging concepts with which a conser- derstanding so that it will closely approximate its state at a specific time vator may not often trouble himself. in its history, while respecting as far as possible its aesthetic, historical While concentrating on the treatment of an object the conservators and physical properties. ought to address also the context in which the object was created, how it was passed on through history, and its current function as a bearer of Objects as messengers from the past culturally significant messages. I believe we need to be aware that our Conservation is also about the necessity of keeping the many-layered work is more than just a matter of preserving material and structure. documentary evidence that every old or recent artistic object holds. In Conservation also encompasses the preservation of non-tangible the future, enquiries will continue to be posed in connection with new cultural qualities and a vast array of information. Exhibiting objects is attempts of interpreting the work, and much too often essential clues not just a matter of putting them on display. We should be guided by have been made incomprehensible or even removed or destroyed during an obligation and responsibility to consider what the object was, how treatment because their meaning and relevance went unrecognised.³ it may have changed – and may further change. The attempt to answer Examples of this are the many 16th and 17th century panel paintings that these questions will naturally be influenced by the culture in which were dramatically thinned from the reverse and cradled in the 19th and the conservator, technical art historian and conservation scientist is 20th century. Apart from the significant side-effect of causing the panels immersed and may be quite complex, given that cultural objects are to become even more vulnerable to environmental impact our predecessors increasingly seen as elements within an international context rooted often also removed substantial information about the production and the in cultural diversity.⁶ maker of these oak boards.⁴ My research into the panel makers and their The crossroad between treatment (how and with what) and the practice in producing panels and of the impact of guild regulations on visual aesthetic impact (why and for whom) is the spot where we find branding and marking these with their individual house marks is but one the conservator as manager of aesthetics and decay. Apart from dwelling example of how significant this information may be for understanding on how to conserve or restore an object he must consistently include a the genesis of a panel painting.⁵ consideration of the impact of a treatment on the recipients of the object, We must realize that we only have the objects in our temporary care and the viewers. An alteration of a painting’s well-known or long-appreciated will hand them over to new generations whose care-taking will be guided message may reshape our understanding of the past. A growing degree by their changing values. Our clients, the museum visitors and scholars of professionalism, coupled with our collaboration with art historians alike, come increasingly from cultural backgrounds different from those and highly specialised conservation scientists, is forcing us to realize that in which the objects were created. Visitors may not be able to interpret our impact on objects, and the various consequences, are indeed our objects that are more than a hundred years old, and the lack of historical responsibility. knowledge amongst younger generations therefore places the effort and the role of the conservator in a crucial new context. We are approaching a Bridging the gap between object and the public situation in which conservators do not only treat and care for the objects It is also here that we find a new and unique and crucial role of the con- but also serve as an important link between the objects and the public. servator as bridging the gap between people and objects. Conservators at large will have a much more visible function than ever before in both ³ Wetering, E. van de, “Die Oberfläche der Dinge und der museale Stil”, in Maltechnik Restauro II (1982), pp. 98-102. today’s and tomorrow’s museums and cultural sectors, while being part ⁴ Wadum, J., “Historical Overview of Panel-Making Techniques in the Northern Countries”, in Dardes, K. & A. Rothe of a global society which is focusing on the sustainability of our multi- (eds.) The Structural Conservation of Panel Paintings. Proceedings of a Symposium at the J. Paul Getty Museum, 24-28 April 1995. Los Angeles (1998), pp. 149-177. cultural heritage and its materiality. ⁵ Wadum, J., “The Antwerp Brand on Paintings on Panels”, in Hermens, E., (ed.) Looking Through Paintings. The Study of Painting Techniques and Materials in Support of Art Historical Research. Leids Kunsthistorisch Jaarboek XI (1998), ⁶ Wadum, J., “Ravished images restored”, in Leonard, M., (ed.), Personal Viewpoints – Thoughts pp. 179-198. about Paintings Conservation. Los Angeles 2001, pp. 59-72. 14 15 16 17 Conservation therefore appears to be much more than examination, [plate 1] Detail of a wooden analysis, treatment and physical care of objects but rather a profession that board with a logger-mark from the Baltic area ca. 1500 is becoming an increasingly active player in museum policy programming and facilities development. This leads to a function that could well be regarded as collections care, regardless of professional delimitation. Thus the act of conservation, in whatever context of collections care it takes place, appears as a matter of shared responsibility amongst many disciplines such as conservation and conservation science, curatorial work, registration, collections management, education, building and maintenance, security, in-house and external exhibition, etc. All these potential roles for the conservator within the heritage institutions each offers a potential for contributions to information and documentation about the objects in custody. Public conservation projects have been launched in several countries and prompted increasing community interest in the complexity of understanding and keeping our past for the future. Acknowledging that documentation and conservation both are words that have been given a multitude of definitions and that offer extensive overlapping with related disciplines, from information science and management to education and research in (art) history and the natural appreciate the mass of information gleaned from pooling the resources sciences, it is important to understand that all stakeholders within the of this variety of disciplines. cultural sector, institutional or private, must expand their current defini- Collaborative interdisciplinary projects with participants from tion of and need for conservation documentation. This definition covers both the humanities and the natural sciences (art historians, historians, photographic documentation (analogue, on x-ray films, digital etc.), conservators and conservation scientists) can repair the misconception drawings, schematic recordings, scientific samples and analytical charts, that these disciplines counteract each other, and actually function as a written texts with a narrative summary and much more. torch of light for others.

Conservation documentation Research Throughout the last century the advance of the scientific examination Above we have stressed that the conservation and preservation of cultural of works of art has completely transformed the way in which we evalu- heritage is an interdisciplinary field requiring close cooperation between ate objects. Employing an increasingly wide range of analytical tools, conservators, archaeologists, (art) historians, collection managers and researchers from the fields of art history, conservation and conservation museum curators on the one hand, and conservation scientists on the science have in many instances demonstrated the significance of working other. It is broadly recognized that the scientific analysis of materials together in an interdisciplinary manner. Originally simply called ‘techni- contributes essential, and often indispensable, information to the com- cal studies’ (a reference to the early Fogg Art Museum publications from prehension, preservation and restoration of objects of cultural heritage. the 1930s), these collaborative efforts now compose a rapidly increasing The analysis of inorganic materials such as pigments, minerals, stone, field of study described as Technical Art History.⁷ glass and metals, can be carried out reliably by a range of methods. So With the academically trained Master’s in conservation, museums and while the natural sciences, as well as engineering, play a critical role in private customers are offered a most spectacular academic orchestration, the proper selection of conservation materials, methods and strategies, conservators being able to assess the objects in a scholarly manner as well scientific research in conservation is often conducted by scientists who as mastering the complicated craft of treating them. The most challenging originally come from outside the cultural heritage field. These scientists (art) historical and scientific developments in the understanding of our thus lack the affinity with the cultural heritage and conservation fields cultural heritage are taking place at interdisciplinary interfaces combining necessary to fully understand and communicate the significance, but the research of curators, conservators and conservation scientists. In also the consequences of their work, to non-technical colleagues. It can a growing number of museums this staff partnership has taught us to thus convincingly be argued that parallel to the UvA education in Conser- vation & Restoration (C&R), complementary education in Conservation ⁷ Ainsworth, M.W., “From Connoisseurship to Technical Art History: The Evolution of the Science (CS) and Technical Art History (tah) will complete the notion of Interdisciplinary Study of Art”, in GCI Newsletter XX, no. 1 (Spring 2005), pp. 4-10. 16 17 18 19

[plate 2] Cross section of a paint layer which, among others shows lead white, carbon black, ocre, zinnober and fillers

[plate 3] Teacher and students discuss ceramic objects

institutions, museums and universities and the industries, often offers opportunities for new results and innovation. Fundraising in collaboration and for interdisciplinary projects has a much better chance of success.

Conclusion ‘Scientific conservation’ is based on the assumptions that 1) the principal aim of conservation is to preserve the integrity of the object, and that 2) this integrity is located in the object’s physical features and constitu- ents. Therefore conservation should involve scientific research into the work’s ‘true identity’ through the investigation of the material properties of the original object. These are the properties that should be preserved a trinity that, in collaboration, can research, understand and care for our for the future or that one should strive at reclaiming by means of restora- historical past, its aesthetics and decay. tion. Preservation and restoration practice should, furthermore, mini- We have an urge to make our conservation research relevant to others mize intervention and aim at avoiding, as much as possible, measures that both within and outside the heritage world. With open-access databases cannot be reversed. to assist in spreading the meta-data of research achievements comparable In many museums research-curators conduct their studies on a high to that of the INCCA network and the rising importance of the RKD level of sophistication. The same could be said about research-conserva- databases on technical documentation. Contemporary artists are highly tors; a job description until now not often encountered in the museum experimental in their use of materials – often to such a degree that the de- world. Conservation scientists, found only in a few museums, will be ployment of fragile, ephemeral, degradable, and period-specific materials expected to carry out research in order to understand the how of objects has become a prominent characteristic of the art of today. As a result, and in order to come up with solutions to their safekeeping. The balance several art objects of the latest decades no longer exist in their original between a continued focus on developing and exercising hands-on treat- form: they have either degraded severely, are in the process of change and ments with educating an academically trained conservator in tandem decay, or have been entirely or partly remade in more recent forms of with training technical art historians and conservation scientists should their original materials. be seen as a novel and important trinity aiming to create a strong inter Collaborative projects between universities and (regional) museums disciplinary team caring for Collectie Nederland – and beyond. could facilitate better research infrastructures instigating shared databases It is in this complex interaction between a multitude of stakeholders, or research documentation programs.⁸ Such constructions may assist the technical art historian-conservation scientist-conservator being a museums and collections in answering questions like how we keep fund- unique trinity, that the UvA-C&R educates and researches for the benefit ing the conservation documentation, i.e. C&R, CS and TAH collaboration, of understanding and keeping objects of our diverse yet common in its broadest sense when museums are constantly being put under cultural of objects as mirrors of human expression for current and economical pressure from governments. Collaboration between different future generations. ■

⁸ See the open source Mellon funded ConservationSpace project: www.conservationspace.org 18 19 20 21 Norman Tennent Conservation science … or science for conservation?

20 21 22 23 Conservation science … or science for conservation?

[Norman H. Tennent] The previous article sets out our University of Amsterdam Conservation and Restoration (UvA C&R) credo for conservation and in so doing acknowledges to the increasing sophistication of the field in terms of the technological developments and the increasing multi-disciplinarity which the academic education of conservator-restorers must embrace. One aspect of this is the need for an ever-stronger scientific foundation on which conservation practice must be based. In this essay, I wish to chart some key aspects of the discipline of conservation science with which conservator-restorers must become conversant. Conservation science is a very young academic field of study whose potential contribution to conservation has never been greater, but to fulfil its potential the scope of conservation science must be driven by the needs of conservation. I wish, therefore, also to allude to the dangers of conservation science losing sight of the importance of contributing directly to conservation practice. An analogy of the dangers faced by conservation science was formulated by Gael de Guichen, a scientist whose awareness of the needs of conservation is second to none. He pointed out, amusingly and not entirely inaccurately, that there is the tendency for conservation scientists to resemble satellites launched into space with a specific purpose but which stray from their path while continuing to send ever more unintelligible messages back to earth.¹ That danger will be one of the themes being discussed in Rome this year at an international forum on conservation science, to which I shall return below. Conservation science within the UvA C&R programme is, in actuality, better referred to as ‘science for conservation’. Indeed this description parallels the running title of a groundbreaking series of textbooks, Science for Conservators, first produced in the 1980s and still used at UvA and elsewhere as science teaching primers. The fundaments of science gained in the three phases of our programme are designed to give graduates sufficient scientific grounding to undertake sophisticated diagnosis of conservation problems, carry out treatments and, if necessary, initiate further scientific investigation. The goal is to provide the necessary scientific ‘toolkit’ which will underpin not only the expert execution of treatments but also the provision of well-grounded advice on technical examination, storage, display, handling, and maintenance of cultural heritage. To achieve this goal our programme recognises that science has a central role in understanding the materials which constitute art and antiquities and is the basis for a proper appreciation of technical aspects of their creation. Indeed, scientists have undertaken analyses of cultural heritage since the beginning of experimental scientific endeavour as we now know it, in the 18th century. However, the role of science in contributing to 22 23 24 25 heritage conservation and restoration is much more recent. The first mu- is no coincidence that the UvA classroom lessons on analytical techniques seum laboratory founded at the end of the 19th century but it was not till are greatly enhanced by the access to the instrumentation itself, combined the 1960s that the discipline of conservation science emerged as a distinct with the experience of the analytical scientists, which the Ateliergebouw, field of applied science and it was even later, in the 1970s, that the term through the close working relationship with the RCE and RMA, provides. conservation scientist began to be used in conjunction with the preserva- The development of the discipline of conservation science needs to be tion of cultural heritage. Since then, the subject has been evolving rapidly written; indeed, the history of conservation science in The Netherlands and there have been regular attempts to define its scope in published alone remains, as yet, by no means fully documented. Karin Groen has texts.¹ ² ³ A landmark international gathering of conservation scientists, demonstrated³ how revelatory the details of that task would turn out to be. held in Bologna in 1999, specified⁴ the principal roles of conservation Since the establishment of the Centraal Laboratorium voor Onderzoek science as: study, investigation and monitoring of cultural heritage and its van Voorwerpen van Kunst en Wetenschap (Central Research Laboratory environment with respect to conservation and preservation; definition, for Objects of Art and Science) 50 years ago, on 1st March 1963, The development and evaluation of conservation concepts, materials, measures, Netherlands has played a leading international role in the development methods and techniques and the development of standards and guidelines; and practice of conservation science. In her survey of national and inter provision of diagnosis before, during and after conservation interventions; national progress in conservation science, Karin Groen makes many research on the causes and mechanisms of deterioration and the inter- telling points which deserve to be more widely known and discussed. pretation of scientific results for the benefit of conservation of cultural One key issue is; “does the research have consequences for the restora- heritage; communication of the scientific principles of conservation and tion?” She cites the example of the degradation of the yellow pigment, the promotion of scientific research in conservation; cooperation with cadmium sulfide. Despite much new information on the ensuing colour other disciplines. changes (gained using the most sophisticated analytical facilities, including At UvA, our teaching and research recognises the importance of a strong scientific basis for optimal conservation in the 21st century while

nonetheless accepting that the scientific knowledge for a comprehensive [plate 1] Detail of Zeegezicht, an oil painting from 1909 by Piet Mondrian, in which the unstable under-pinning of conservation practice is vast. Ultimately, this is best cadmium yellow paint is showing cracks and is lifting. Several paintings by Mondrian exhibit a similar appearance; the yellow paint has a strong craquelure and some discoloration developed in the workplace by partnerships between conservator-restorers and scientists tackling conservation projects in a symbiotic relationship. We are fortunate that this close cooperation with conservation scientists commences at the outset and continues throughout our 5-year programme. In the ‘Ateliergebouw’, the superb conservation centre which we share with scientists from the Dutch Cultural Heritage Agency (RCE) and colleagues from the Rijksmuseum (RMA), the sharing of exper- tise with conservation scientists and conservation practitioners infuses both teaching and research. Examples of projects given in this essay will demonstrate how the Ateliergebouw allows easy integration of scientific analysis and experimentation as support for student conservation treatments or research projects (in both the Master’s and Post-Initial phases) and for staff research. This involves primarily access to state-of-the art instrumental analysis but no less relevant is the need for accelerated aging facilities to predict the long-term behaviour of conservation materials. It

¹ Guichen, G. de, “Scientists and the preservation of cultural heritage”, in Science, Technology and European Cultural Heritage, Ed. Baer, N.S. et al., Butterworth-Heinemann, Oxford, 1991, pp. 17-26. ² Feller, R. L., “Concerning the Place of Science in the Scheme of Things”, in Contributions to Conservation Science. A Collection of Robert Feller’s Published Studies on Artists’ Paints, Paper, and Varnishes, Ed. Whitmore, P. M., Carnegie Mellon University Press, Pittsburgh, 2002, pp. 619-630. ³ Groen, K., “Perspectives on the evolution of science for art history and conservation, and its current state”, in Paintings in the Laboratory: Scientific Examination for Art History and Conservation, unpublished PhD thesis, University of Amsterdam, 2011, pp. 1-19. ⁴ ICCROM, University Postgraduate Curricula for Conservation Scientists, Proceedings of the International Seminar, Bologna, Italy, 26-27 November 1999, ICCROM. 24 25 26 27

[plate 3] Section of a test wall constructed in 1967, in Limelette, Belgium, to evaluate silicone waterproofing treatments on 40 calcareous stones

[plate 2] Detail of a restored head from the tympanum of the Royal Palace in the Dam Square, Amsterdam. Most of the head was re-modelled, in 1915, using a zinc-based paste to replace the severely degraded marble original

synchrotron radiation) she observes that “what circumstances would a large proportion of the marble tympanum now actually consists of this have triggered the process, and when, is still a mystery”. Relating scientific material. Interestingly, its durability, after a century, has been shown to analytical findings to treatment recommendations is often the most diffi- be remarkably good. Consequently, the research takes the 1915 tympanum cult part of the investigative process and here the collaborative role of the repairs as the starting point to explore the scope for rehabilitation of this conservator-restorer in the research is of great importance. Accordingly, material, currently not used in The Netherlands, in the expectation that a it is fitting that one current UvA C&R Master’s research project is addressing versatile material, first prepared in the19th century⁵ and formerly used for practical aspects and consequences of this very phenomenon, associated filling dental cavities (a rather different form of conservation), may have with paintings by Mondrian [plate 1]. This is but one example from our great potential for the future conservation treatments. C&R education of the vital role that conservator-restorers can play in This case study is an example of one of the aspects of conservation research, in collaboration with conservation scientists and we endeavour science – the prediction of long-term durability – which requires input from to foster such collaboration progressively throughout our programme. conservator-restorers. The natural aging of the old tympanum repairs is a In this case, in addition to conservation colleagues from, amongst others, century-long experiment and its documentation by conservator-restorers the Municipal Museum in The Hague and the Kröller-Müller Museum, contributes to our understanding of durability. Conservation requires, the project is relying on collaboration and consultation with scientists however, predictions of the durability of new materials and the science from the RCE, from the Science Faculty of UvA and from the Technical of natural and accelerated aging is one of the key facets of conservation University, Delft. In this way, we seek to inculcate an understanding of research on which our programme focuses. Here the RCE accelerated the nature and scope of the role of conservation science in order to facili- aging apparatus, especially for light fading, is a crucial part of our C&R tate the ‘dialogue of equals’, between conservator-restorer and scientist, experimental requirements, available nowhere else within UvA. The need which is necessary for implementing proper scientific investigations for for acceleration of long-term behaviour requires a thorough understanding the benefit of conservation. of the relevant parameters and a rigorous implementation of them. The One other example will suffice here (in conjunction with many others state-of-the-art Ateliergebouw facilities therefore provide an exceptional referred to elsewhere in this book) to reinforce the point. A team of C&R opportunity for student and staff research on long term behaviour of staff, current and past students, and RCE researchers are involved with the artists’ and conservation materials. Nonetheless, accelerated aging is no study of a fascinating material used for the repair the marble tympanum substitute for the results of natural aging. For this, considerable planning of the Royal Palace in the Dam Square, Amsterdam. In 1915, because and patience is required but its value is clearly demonstrated by the of pollution-induced degradation of the marble, this material, a cement illustration [plate 3]. In 1967, panels of 40 different calcareous stones based on zinc compounds, was extensively used for filling small lacunae and for remodelling major components, such as complete heads [plate 2] and other parts of the tympanum figures and ancillary items. As a result, ⁵ Sorel, S., “Procédé pour la Formation d’un Ciment Très-Solide par l’Action d’un Chlorure sur l’Oxyde de Zinc.” Compte Rendu Hebdomadaire des Séances de l’Academie des Sciences, 41 (1855), p. 784. 26 27 28 29 in an article⁶ which should be essential reading for all conservator-restorers 25 % Materials & techniques and conservation scientists. His survey recounts an inauspicious start as 24 % Investigation tools & methods he describes the moment in 1818 when the renowned English scientist 12 % Treatment Sir Humphrey Davy conducted experiments to unroll charred papyrus 11 % Preventive scrolls from Herculaneum with the result that “one of the first recorded 9 % Management attempts of scientists to meddle with the conservation of antiquities was 9 % History policy other legislation a complete failure”. Torraca held the view that conservation science in the terminology 1980s had deviated from its primary task, to assist conservator-restorers 5 % Education & training in preventive and practical treatments. He pointed out that reluctance on 4 % Deterioration the part of scientists to be involved in conservation practice often had the 1 % Other consequence that conservator-restorers were compelled to take over all the testing procedures involving experimentation, application and evaluation of results. Provocatively, Torraca commented that “Occasionally conservator-restorers mask the lack of scientific grounding of their efforts by [plate 4] Pie chart based on 357 articles from 10 conservation periodicals / conference proceedings in contact with some friendly scientist who offers some amateur collabora- 2008 illustrating the relative focus on different conservation tion. The scanty and usually irrelevant results of such collaboration are science topics. Illustration: ICCROM, 2013 proudly displayed in reports and exhibitions to guarantee the scientific level of the work done, on which they had no influence whatsoever.” This is precisely the situation which the UvA C&R education in science (24 of which are shown in this illustration), all used for building facades, for conservation seeks to consign to the past. Building on conservator- were installed outdoors in a test wall in a rural site in Belgium. The restorers’ increased competence as a result of the role of academic training lateral sections were treated with silicone resins and the central section in conservation, especially in the last three decades, it is clear that an equal left untreated. After more than thirty years, the relative effectiveness dialogue between conservator-restorers and scientists becomes the norm of the stone treatments and the different response of the various stone and, furthermore, that the necessity for embracing art history ensures a types to the waterproofing is clearly visible, an experiment which is more true colloquy of not two but three interconnected disciplines. ■ convincing than any attempt to accelerate the process. The limitations of science, as well as its possibilities, is a recurring theme in all science Acknowledgements The author is grateful for fruitful discussions over many years with many conservation scientists, for conservation. not least the authors of the articles cited. Particular thanks are also extended to colleagues from The assessment of durability is one of the unique contributions of the Municipal Museum in The Hague, the Rijksgebouwendienst (Dutch Government Buildings conservation science to the understanding of the chemical and physical Agency), the Belgian Building Research Institute, the International Centre for Conservation in Rome (ICCROM), UvA C&R staff and students. changes which affect materials. In many cases knowledge of materials such as adhesives or varnishes is being gained which goes well beyond the information available from the manufacturers or in publications of scientists in academia. However, nowadays it seems that conservation science places a rather low priority on materials and treatment. This fact is demonstrated by the pie chart in plate 4. This sort of information has previously not been available but is one of the outcomes of the data being gathered for the 2013 ICCROM Conservation Science Forum in which UvA will participate in conjunction with RCE, as partners in an international event which seeks to be a defining moment in current state of development and future priorities of the discipline. The difficulties of scientific research to develop conservation treatment methods have long been recognised. The situation was well described in 1982 by the late Giorgio Torraca, an Italian conservation scientist whose understanding of conservation and the needs of conservator-restorers ⁶ Torraca, “The Scientist’s Role in Historic Preservation with Particular Reference to Stone Conservation”, reprinted was second to none. Torraca surveyed the role of conservation scientists in Historical and philosophical issues in the conservation of cultural heritage, Ed. Stanley Price, N.P., M. Kirby Talley, Jr. and A. Melucco Vaccaro, Getty Publications, Los Angeles, 1996, pp. 439-444. 28 29 30 31 Summary’s Abstracts of both Master’s- and post-Master’s-theses

30 31 32 33 Klein maar fijn Lead white in fine particle size The construction and conservation of movable books

M.J.N. Stols-Witlox (UvA) ■ A case-study of the

MA thesis [Marya Albrecht] This thesis focused on gaining more insight into the use of lead white of fine particle size in Meggendorfer-Collection at Dutch paintings of the 17th century, with the main ques-

2012 (in Dutch) the ‘Bijzondere Collecties’, tion being the reason why painters used this very fine grade of lead white. In order to be able to answer this Amsterdam question, the available literature was studied and recon- ■

A paper on this work is in preparation structions based on historical recipes were carried out. ■

MA thesis supervisors By combining knowledge of paint behavior with ■

practical experience gained by carrying out reconstruc- [Sanne van Bergenhenegouwen] This research includes a discussion MA thesis 2012 (in Dutch) ■ tions, the specific properties of linseed oil paint in which of the construction of movable books, largely based on the use of a fine or coarse lead white particles are dispersed became case-study: the Meggendorfer-Collection at the BC, UvA in Amsterdam. clear. Various series of reconstructions were designed, and Included in this paper is a small terminology, designed to make discussion carried out, to deal with specific aspects of the working or of the subject easier and as unambiguous as possible. Attention is given E.E. van Duijn (UvA), optical properties of the paint. The reconstructions have to the construction of the text-block, the paper used for the text-block, been examined by taking cross sections and analyzing the design of the mechanisms and the construction of the cover. Some

them with optical microscopy and SEM. research has been done concerning the materials used for the paper by UvA) MA thesis supervisors J. Schrijen (UvA), A. Balsem (BC, These techniques were also used to analyze cross- means of fiber determination under the microscope. Distinction has been sections of several 17th century paintings that probably made between seven types of mechanisms. A large part of the thesis is contain fine lead white, amongst others Portrait of Hylck concerned with the discussion of specific types of damage that occur in van Eysinga by Wybrand de Geest and Still Life with relation to the movable book. This is divided into: damage to the text- Flowers on a Marble Tabletop by Rachel Ruysch. ■ block, damage to the mechanisms and damage to the cover. A distinction has also been made between mechanical damage, damage caused by the Acknowledgements construction of the book, previous destructive restorations and natural J. Boon, E. Oberthaler (Kunsthistorisches Museum Wien, Austria), J. van damage. A separate chapter is dedicated to the damage that is unique to Iperen (RMA), L. Megens (RCE), F. Ligterink (RCE), Z. Iddi, K.J. van den Berg (RCE), J. Seynaeve, A. Wallert (RMA), A. van den Berg, K. Kirsch (RAA) the Meggendorfer-Collection at the BC in Amsterdam. Several suggestions are given concerning the treatment of the most frequently occurring types of damage. A treatment proposal is given for the Meggendorfer- Collection, with special attention to the ethics concerning treatment of the several restorative operations performed by the former owner of the collection, prof. Wagenaar. These are for a large part responsible for the unique character of the collection and should not be easily rejected. Care has to be taken to preserve them, in light of the historical and cultural importance of these treatments. ■

Acknowledgements M. Wagenaar, T. Bruins, P. Verveen, G. Verhoeven, BC (UvA), M. Verheij

32 33 34 35 Shining a light on UV-adhesives A research on the aging of four UV adhesives in the field of glass The hand of a master Art-technical research into the

■ painting technique of Jacob

MA thesis 2011 (in Dutch) ■ [Nienke Besijn] In the 1970s a new type of adhesive was introduced that potentially could change the field of glass restoration forever: ultraviolet Adriensz Backer (1608 / 9 -1651) light curing adhesive, also called UV adhesive. It has the ability to set quickly which makes it more efficient than other adhesives used in glass conservation-restoration. Now, 40 years later, the UV adhesives have only ■ ■ MA thesis 2011 (in English) ■ sporadically been researched, and do seem to be applied often. Details of this research will be published elsewhere [Julia Maria van den Burg] Jacob Backer was a contem- This study presents research on the history of UV curing adhesives in porary of Rembrandt, and of whom it was said he could

MA thesis supervisors K. van Lookeren Campagne (UvA), N.H. Tennent (UvA) glass conservation-restoration and how it is used today. With the help of paint a portrait in one day. Until now, sporadic technical restorers who regularly use UV adhesive, four adhesives were selected for research has been done on works by Backer, often within further analysis: UV901 and UV902 (Sylmasta ®), Conloc 665 ® (EGO) and the framework of other research projects. Little research Loctite 350 ® (Henkel). These adhesives were tested on their applicability has focussed solely on Backer and his painting techniques. and reversibility on stable clear colourless glass. These tests were per- This thesis studies a number of aspects of Backer’s paint-

formed on broken microscope slides and wine glasses. The adhesives MA thesis supervisors M.J.N. Stols-Witlox (UvA), M. van Eikema Hommes (RCE) ing techniques and working methods and places him in were artificially aged by means of light aging equivalent to 100 years of the context of his fellow 17th century painters. aging in museum conditions. This thesis was written for the pilot Rembrandt Students The applicability tests showed that all adhesives were applicable on Project, conjointly run by the RMA, the UvA and the RCE. glass that is stable, clear and colourless. The most positive results in this Twelve paintings from different periods in Backer’s career test were achieved with Conloc 665. The results of the tests for revers- (early, middle and late) and with different subject matters ibility of the UV adhesives before aging showed that the UV adhesives and sizes (large group portraits and smaller individual were removable using methylene chloride. After the artificial aging of the portraits) from the RMA, the MDH and the AM were studied adhesives the degree of yellowing was measured optically and spectro- in-depth with various techniques including visual analysis, photometrically. The overall results of the tested UV adhesives showed IRR imaging, x-radiography, cross-section analysis, SEM- no noteworthy yellowing, and the UV901 and UV902 showed no optical EDX and thread counting. Conclusions were drawn re- yellowing at all. The results of the spectrophotometric measurement garding the supports Backer used, the types of grounds he also confirmed that the UV adhesives showed only minimal yellowing. painted on and the extent to which he used these grounds The reversibility tests on the aged adhesives showed that all four aged in his final painted image, his use of preliminary drawings UV adhesives were removable with methylene chloride. The aged adhe- and sketches, the style and presence under-drawing and sives were generally easy to remove, as opposed to the recently cured undermodelling, his painting technique and the develop- adhesives. Applying acetone to the aged adhesives resulted in blistering ment of his style throughout his career, and the types of and stickiness, unlike the non-aged UV adhesives. pigments used. This research shows that the use of UV adhesives on stable colour- It was found that Backer used panels and canvases for less glass definitely has potential. The working time can be significantly smaller individual portraits and canvases for larger group reduced and there does not seem to be any harmful long term effects on portraits and classical and mythological scenes. Toward stable colourless glass. Further research on different types of UV-curing the end of his career it appears that Backer only painted adhesives and the effect of these adhesives in other aspects of glass on canvas, possibly following the 17th century trend conservation-restoration is recommended. ■ which saw a rise in popularity of canvas as a support. 34 35 36 37 Backer’s paintings reveal a traditional and economic working-up of the paint layers. His brushwork became looser and bolder as his career progressed and in the faces Conservation dilemmas regarding and hands of the portrayed his brushwork contributes to their plasticity. ■ painted alterations to portraits which are of historic value Acknowledgements A. Wallert (RMA), I. Verslype (RMA), G. Tauber (RMA), W. de Ridder (RMA), L. Sozzani (RMA), P. Roelofs (RMA), Mauritshuis Den Haag, S. Meloni (MDH), N. Middelkoop (AM), K. Kirch (RAA), A. van Loon (RCE), K. Keune (RCE) ■ ■

[Melissa Esther Daugherty] This Master thesis focuses A publication about this work is in preparation MA thesis 2012 (in Dutch) ■ on problems around conservation-restoration methods used on 17th century paintings that have been altered in the course of time – with the emphasis on alterations that affect the historical identification of the portrayed. The conducted research centers upon two paintings from the collection of the AM, portraits of Pieter de Graeff and

Jacoba Bicker both painted by Wallerant Vaillant. The MA thesis supervisor E.E. van Duijn (UvA) lead question is how to reach an objectively substantiated decision regarding which stage in its history the painting should be conserved to. The conservation-restoration process of both portraits is documented in this thesis. Using different methods of research (conservation documentation, interviews with experts in this field, historic sources) and technical analyses of the paintings’ layer structure, more insight was gained into the time frame and order of the various alterations. The conclusion from these various forms of research is that a single answer to the lead question cannot be given. The preferred Detail image of the conservation-restoration method of alterations depends Portrait of Sara de Bie, on many different aspects. Therefore, reserved and revers- Rijksmuseum Amsterdam, Inv. Nr. SK-A-3517 ible conservation-restoration methods should always be preferred. They will allow future conservator-restorers to make different decisions regarding the conservation- restoration of these painted alterations. ■

Acknowledgements N. Middelkoop (AM), G. Reichwein (AM), N. Renkema (Museum van Loon), R. Ekkart, S. Meloni (MDH), G. Tauber (RMA), A. van Loon (RCE), F. Ligterink (RCE), K. Kirsch (RAA), R.J. van der Maal, K. Keune (RCE), J. Pedroso (RMA), S. van Oudheusden, A.A. de Tagle (Rce)

36 37 38 39 The paint box of Breitner and Breitner could have been unaware of the risky combinations in his paint tubes. Standage did not describe the particular fanciful names of paints the colours of Standage like Zinnober. Yet he clearly described the potential destructiveness of lead white. Breitner consciously chose to paint with it, neglecting the advice of a theorist. ■ ■ ■

A paper describing this work has been accepted for publication ¹ MA thesis 2011 (in Dutch) ■ [Hannie Diependaal] This study discusses Breitner’s paint box from the collection of the AM (inv. nr. KA14285), which has not been described Acknowledgements previously. The research project focused on the influence that “The artists’ G. Reichwein (AM), P. Born (AM), L. Wijnberg (SMA), M. van Bommel (RCE), S. de Groot (RCE), M. de Keijzer (RCE), H. van Keulen (RCE), L. Megens (RCE), Ch. Caspers, J. Pedroso (RMA), manual of pigments” published in 1886 and written by H.C. Standage M. van de Laar (IC), F. Fahrenfort might have had on the artist George Hendrik Breitner (1857-1923). Breitner made a note of this manual’s title in his sketchbook around the date of publication, but did the artist take the writers advice? The aim was

MA thesis supervisors M.J.N. Stols-Witlox (UvA), K.J. van den Berg (RCE) to gather knowledge on the object in its historical context, the artist’s use of pigments and on 20th century oil paint. The study was undertaken as a joint project by the UvA and the RCE. The paint box was documented and samples were taken from the tubes and palette within. Letters, notebooks and sketchbooks of the artist were consulted to gather information on the use of the box and paint. The findings indicate that the painter used and filled the paint box between 1897 and 1923. Shopping lists and names of colours as noted in the artist’s black and white sketches reveal Breitner’s interest in new colours. This impression is confirmed by the diversity of the 58 paint tubes in the box. The paint comes from at least seven different colourmen. The majority is labeled Claus & Fritz. Paint fabricated by this firm was considered to be of a high standard and fine quality. In his manual Standage describes pigments from a chemical point of view. The author is an outspoken opponent of lead-containing pigments on the palette. In this respect he distinguishes himself from contemporary authors like the painter Vibert and the paint maker Keim who wrote about pigments. In the opinion of Standage lead white is destructive. He presents the combination of chromium yellow and cadmium yellow to demonstrate the adverse consequences of the interaction between sulphur and lead. In total 48 paint samples were taken from the paint box. These were analyzed using complementary techniques: light microscopy and polari zation microscopy, SEM-EDX, XRF, FTIR, GC-MS and HPLC. The results show that the colours in the tubes are composed of 20 different pigments, in various combinations. Paint box of George Hendrik Breitner, (1857-1923), A few case studies were carried out that established some proof for collection Amsterdam Museum. (inventory nr. KA14258), the relationship between Breitner and the tube paints. Results of XRF 44,5 × 34,5 × 8 cm analysis on several paintings dating past 1897 could be related to specific combinations of pigments in the tubes. These included some of the instable mixtures described by Standage. Lead white was identified in

all paintings examined.

¹ Diependaal, H., K.J. van den Berg, S. de Groot, M. de Keijzer, H. van Keulen, L. Megens, “Breitner’s paint box and the colours of Standage”, Zeitschrift für Kunsttechnologie und Konservierung, 2013, 1 (Spring). 38 39 40 41 Such objects do not respond to light aging as single entities. Dilution of the medium and the existence of layers of media are Light damage on paper objects two aspects that play a role in light aging. A third very important element is the role of a dye or pigment within the composition of with coloured media the object. Towards a differentiated Furthermore, the investigation revealed that the theoretical model is not adequate for determining the sensitivity to light and sensitivity classification possible damage to the object because the model ignores light- sensitive variations in the objects. Further research could lead to refinement or modification of the current model. The basis of this model would no longer be the ■ B. Reissland (RCE) ■

MA thesis 2010 (in Dutch) ■ [Judith Geerts] Light causes damage to materials, and there- ISO classification based on an object group, but on the different fore it forms a dilemma for museums and other institutions that components of an object and the mutual coherence of these com- manage collections when they wish to exhibit their collections. ponents. An evaluation of each part of an object should form the Guidelines for the exhibition of objects have been formulated in basis for the determination of the risk of light damage per item. The

The thesis (in Dutch) is available free of charge ¹ the past in order to restrict damage caused by light as much as light sensitivity of the most important components of the object possible. These guidelines are based on the sensitivity of an object would then form the basis for determining the ISO rating. ■ in relation to luminosity and exposure time.

MA thesis supervisors B. van Velzen (UvA), J. Schrijen F. Ligterink (RCE), The sensitivity of an object is determined by an ISO classifica- Acknowledgements tion known as the ‘blue wool standard’. The limitation of this B. Wei (RCE), I. van Leeuwen (RMA) classification in sensitivity classes is that objects are classified based on the type of object. Work on paper with coloured media is classified as ISO 1, very light sensitive. The classification does not consider the various components of an object and how these components change under the influence of light. There is no knowledge about the effects of various changes in these individual components to the appearance of an object as a whole. As a consequence, the classification in sensitivity classes only presents a general picture. The sensitivity of specific objects may therefore be overestimated or underestimated. In order to obtain a better understanding of the damage caused by light a study was conducted into the effects of light aging on the appearance of works of art on paper with coloured media. Reconstructions of three typical objects were made: a watercolour painting, an ink drawing, and a piece of wallpaper. The reconstructions were exposed to light over a period of seven weeks with an actual total exposure time of 830 hours at an average of 11,000 lux. The objects were scanned, and colour measurements were taken every 24 hours. A theoretical model was developed based on the current guidelines for exhibiting collections, as formulated by the ICN. The results of the scans and colour measure ments were analysed and compared to the theoretical model, and led to the conclusion that for objects in the category ‘work on paper with coloured media’ a closer look at light aging is required.

¹ http://dare.uva.nl/document/478509 (21-03-2013). 40 41 42 43 A study of 18th century furniture locks Finishes on furniture 1800 -1900

T.C.P. Beentjes (UvA) ■ ■ Reconstructions of 19th century finishes MA thesis 2011 (in Dutch) ■ [Auke Gerrits] In the discipline of wood / furniture conservation-restoration, a conservator-restorer frequently encounters materials that cannot on the basis of contemporary sources be categorized as wood, but still sometimes require special attention in a conservation-restoration process. Furniture locks are prime examples of such materials. Furniture locks can contain important clues with respect to The thesis (in Dutch) is available free of charge ¹

dating and the country / region in which the object has been manufactured. [Sophie Glerum] Although a wide variety of varnishes and coatings PD Res thesis 2012 (in Dutch) Next to this, one can also question the authenticity of a certain lock on a has been used in the 19th century, we nowadays are mostly familiar with

MA thesis supervisors H. den Otter (UvA), piece of furniture. The metal lock is a key point of attention, for the follow- the appearance of a shellac based French polish or a wax coating, being ing reasons: the coatings that have been used in conservation-restoration for the last - locks can be worn out (replacement / restoration of parts may be important); hundred years. To obtain better knowledge on the coatings which were - locks may have been replaced or removed (the authentic configuration available during the 19th century, research has been carried out regarding has disappeared); the recipes and instructions appearing in Dutch, French, German and - the lock has to be conserved. English written sources from the period 1800-1900. During the selection

In spite of their importance, furniture locks are an area in which little research process only the recipes and instructions were selected that dealt explicitly PD Res thesis supervisor S.M. Nijhuis (UvA) has been done. The characteristics of various locks from various periods in with the finishing of furniture or wooden objects. history are only sporadically found in literature but have not been subject Based on the information that was found during this research, twelve of a systematic investigation. As a result, it is very difficult to establish coatings were selected and reconstructed according to the original recipes if an object is authentic or not. Also, metal parts like furniture locks are in order to get an idea of their original appearance. The following selection often sent to a conservator-restorer specialized in metals. Obviously, if was made: three oil varnishes, four alcohol varnishes, one varnish based the knowledge of the metal components would assembled and suitably on oil of turpentine, two French polishes (one of which was made in two organized, a specialized furniture conservator-restorer would be able to carry different solutions) and two wax polishes (which both had a variation out a restoration on his own, and to establish whether a lock configuration in composition, so in fact four wax polishes). These coatings were is authentic or not. prepared according to the found recipes and were applied according to For these reasons it was decided to assemble and organize systematically the original instructions to test samples of mahogany veneered multiplex all information about the most common locks on furniture that a specialized of 24 × 40 cm. wood / furniture conservator-restorer regularly may encounter. The tests also included the possible effect of two often applied pre- A documentation system has been set up, including drawings and technical coating wood preparation techniques, addition of a layer of a) diluted specifications of all 18th century furniture locks, the materials, tools and glue size or b) drying linseed oil. After the coatings were applied and techniques that were used to manufacture them, and the techniques and finished an impression was obtained of the intended appearance of the materials used to attach the locks to the furniture. This system allows the original coatings and the way in which they differ from the coatings selection of an appropriate lock for a piece of furniture at which a lock is we are used to see nowadays. ■ missing, or to make a copy of the lock. Also, an authenticity justification procedure has been set up, based on the Acknowledgements applied lock-manufacturing techniques, and traces of manufacturing tools H. van Keulen (RCE), P. van Duin (RMA), A. Coerdt (RMA), I. Breebaart (RMA), R. Kievits (RCE), K. Padding (MVP) and attachment material on furniture. ■

Acknowledgements R. Kievits (RCE), P. van Duin (RMA)

¹ http://dare.uva.nl/document/469714 (21-03-2013). 42 43 44 45

Detail of ornaments on a 19th century composition frame, courtesy of Rijksmuseum Twenthe. Inv. nr. 0138

were made in The Netherlands. For this reason, research was started to gain more insight into the 19th century Dutch gilding Original gilding on nineteenth century techniques, using five 19th century composition frames from the RMT (Enschede, The Netherlands) as a case study. composition frames To verify expectations concerning the type of gilding used and Research on historical the layer structure of the gilding, Dutch, English and German historical sources from the second half of the 19th century were gilding techniques analyzed for specific regulations and prescriptions for the gilding of the frames. Cross sections of the five above-mentioned composition frames were taken and analyzed with light microcopy, and ■ elsewhere S.M. Nijhuis (UvA) ■

MA thesis 2012 (in Dutch) ■ [Tess Graafland] In the 19th century a large amount of frames later on with FTIR and SEM-EDS to identify organic and inorganic was made out of ‘composition’, a dough-like material that consists materials, respectively. mainly out of chalk, glue, linseed oil and a filler such as saw-dust The relatively small number of historical sources and frames or paper. This blend of materials was pressed into a mould to form that has been studied in combination with and the limited techni- ornaments which were glued on the frame. Finally, the frames cal data do not allow yet a definite conclusion concerning gilding Details of this research will be published were completely gilded. Due to the popularity of these frames practices in the 19th century in The Netherlands, but it has be- and the increasing industrialization, there was a large production come clear that both historical recipes and technical analyses are

MA thesis supervisor of composition frames in the second half of the 19th century. needed in order to avoid premature conclusions. ■ Nineteenth century composition frames have been analyzed mainly from an art-historical point of view, focusing on function, Acknowledgements style, type and the development of various types of frames. The Rijksmuseum Twenthe (RMT), G. Kingma (RMT), H. Baija (RMA), K. Keune (RCE), J. van Iperen (RMA) gilding of these frames has not yet been investigated extensively, and this applies in particular to gilded composition frames that

44 45 46 47 Organic moulding material in lost wax casting in 16th century Italy The toxicity of the pigment orpiment in historic interiors ■

MA thesis 2012 (in Dutch) ■ [Jeroen van Halder] In his 1568 publication Giorgio Vasari claimed that founders who used the lost wax method were able to cast bronze statues so perfectly that these statues L. Megens (RCE) ■ ■

did not need any correction of casting defects once they were cast. This was the main MA thesis 2012 (in Dutch) ■ [Jessica Hensel] Anyone that handles old, deteriorating paint layers, e.g. con- reason to focus on the moulding materials used in lost wax castings in 16th century Italy. servator-restorers and museum employees, must always consider the possibility The main component of these mould materials was clay. The lost wax method for casting that on the surface of the paint toxic pigment particles can be present that may bronzes is still in use today. Onto a wax model a sprue, feeding channels (runners) and come loose when being handled. An inspection of the condition of deteriorating

venting channels are placed, and covered with a heat-resisting moulding material. By A paper has been accepted for publication ¹ paint layers, and detection of potentially toxic materials on the surface, should be

MA thesis supervisors J.E. van Reekum (UvA), T.C.P. Beentjes (UvA) heating the mould the wax is removed. Subsequently, the mould is fired after which the carried out before any treatment. bronze is poured into the cavity of the mould. Finally the mould is broken into pieces, Recently, two deteriorating painted ceilings in a 17th century monument in

and casting defects, if any, can be corrected. When casting bigger objects, which have to MA thesis supervisors D. van Kempen (UvA), R. Keppler (UvA, IC), Hoorn ( The Netherlands) have been examined. In the paint on both ceilings be casted hollow, an inner core is used. orpiment (arsenic sulfide, As2S3) and its toxic oxidation product (arsenic oxide, Not a lot of recent research on Renaissance moulding materials is known to exist. As2O3) have been identified using PLM. The presence of arsenic has been con- The main two recent sources of information are that of Francesca Bewer and Jane Basset. firmed with XRF. Within this thesis the focus is in particular on the main Italian sources: Biringuccio, Cel- The toxicity of orpiment is known since antiquity, due to the highly toxic ele- lini, Gauricus and Vasari. The main moulding material used by them is earth containing ment arsenic. The precise hazards of the presence of orpiment and arsenic oxide clay, mixed with wool-cloth clippings. Other additives named by various authors are: to both the conservator-restorer of the ceilings and the resident of the monument horse or cow manure, hair, hemp, flax, straw, crushed brick, ashes, sand, salt water, iron were unclear and therefore two experiments were carried out. scale, ashes of young ram’s horn and plaster. The two most important sources are the An indication of the risk for the conservator-restorer has been obtained by publications of Biringuccio and Cellini. They go into greater detail describing the earthy measuring the exposure to arsenic in inhalable dust during an 8-hour experiment. clay they use as main moulding material. The descriptions by Cellini are even more In this experiment the overpainting on one of the ceilings was mechanically valuable because he reports relative proportions of the materials used and gives a detailed removed using a scalpel. During this experiment a special gas mask with a filter account on how to use them. The main components clay /earth and wool-cloth clippings was worn. Afterwards, the contents of the filter were analyzed with inductively have been studied in more detail. It can be concluded that several authors were not quite coupled plasma mass spectrometry (ICP-MS). The ICP-MS results indicate a presence accurate in their translations and interpretations of these main components. Modern of arsenic in air that exceeds the threshold limits of several European countries. standardization allows for a more precise definition of the various terms for clay, earth, The risk for the resident has been assessed by examining the condition of the loam and sand. unvarnished paint surfaces, the migration of arsenic in the paint layers and the As to the experimental side of the research, a few small tests were carried out with wooden substrate (using SEM) and the detection of arsenic particles in dust (XRF). moulding material based on clay with one or more additives. River clay mixed with wool Several measures are recommended to reduce exposure, such as improved fibres resulted in an inadequate outcome. A loam-mixture of sand, clay, goat hair, horse ventilation, shorter working hours per person, the development of a different manure and reclaim, obtained from the Whitechapel Bell Foundry London UK, delivered removal method and the use of appropriate protective equipment. During hands-on good castings. These equalled casting results made with modern day moulding materials. work, contact with inhalable dust must be avoided as much as possible. A protocol In order to get a perfect cast the moulding material is most important but many other has been established for the handling of paint layers in historic interiors or on factors influence the outcome, e.g. the composition and temperature of the alloy, the historic objects that might contain toxic pigments. ■ process of firing the mould and the craftsmanship of the foundry men. Concluding: casting bronze statues so perfectly that they do not require any correction of casting defects Acknowledgements is possible but only under ideal circumstances. ■ P. Meijers (Monumentenzorg, Hoorn). M. de Graaf (UvA), J. Pedroso (RMA), K. Keune (RCE), A. Wallert (RMA), J. van Iperen (RMA), E. Geldhof (BTC)

Acknowledgements R. van Langh (RMA), A.A. de Tagle (RCE), A. Reijnders, R. Ruimer, F. Bewer, Whitechapel Bell Foundry London UK, M. Ibsen, K. Ravn Hedegaard

¹ Hensel, J., (2013) The toxicity of the pigment orpiment in historic interiors. Paper presented at: “Conservation-Restoration and Health / Security of people and the environment”, Colloque 17-21 juni 2012, 46 Draguignan-Figanieres, France. http://art-conservation.fr/colloque-2013/ (20-02-2013). 47 48 49 ■

Coal tar as a painter’s material [Annemieke Heuft] In February 2011 the restoration of the large organ of the MA thesis 2011 (in Dutch) ■ Westerkerk in Enkhuizen was completed. Architectural paint research on the A material-historic study of a 19th century wooden case had uncovered remains of an original finish from 1549 and a 17th coal tar paint on the organ case in the century painted decoration under the current black-and-gold exterior dating from 1838. After analyzing the black paint it appeared to be composed of coal tar Westerkerk in Enkhuizen in linseed oil and colophony resin. Continuing on the restoration, this thesis is a study of this coal tar paint, its material-technical context and the historical usage

of coal tar as an ingredient for paints applied by house and furniture painters in MA thesis supervisors D. van Kempen (UvA), R. Jongsma (RCE) the 19th century. Detail of cracked Coal tar is a ‘bituminous material’ and has been put in relation to asphalt. gilding on coal tar containing paint Since the 18th century it was gained as a by-product in the carbonization of on the left shutter coal to make cokes. Studying 18th, 19th and early 20th century housepainters of the organ in the Westerkerk manuals and recipe books, it appears that bituminous materials like asphalt, Enkhuizen tars and pitches have been used in enamel paints, varnishes and lacquers for a variety of objects. Coal tar was also regularly used as a protective layer on coarse wood exposed to water, particularly in the ship-building industry. Because of its wide availability it has been frequently sold as a cheap substitute for the natural asphalt that had to be imported from the Middle East. This has had its consequences for the paints made with the cheaper material. Scientific research has suggested that coal tar has an even greater influence on the drying of linseed oil than asphalt, and that paints made with coal tar dry very slowly or never at all. Despite of this the coal tar paint on the organ case in Enkhuizen has aged quite well, although the slow drying has been responsible for the formation of drying cracks in the gilded decorations applied on top of the black paint. Why it was decided to use coal tar on the organ case in Enkhuizen could not be made absolutely clear, but it probably will be related to its deep color and delicate gloss. Although the historic sources suggest that bituminous materials have regularly been used as a painting ingredient on other objects than paintings, other painted finishings comparable to the one on this organ have not been found during this research project. Possibly other bituminous paint layers on objects have not been preserved, or other black paints consisting of these materials have not been identified before. Black was used more often in interior decoration around 1838, mostly to imitate Japanese or Chinese lacquer panels on the walls, and black furniture in one’s interior was considered distinguished and genteel in 19th century Holland. The gentility of the color black in the Dutch organ tradition was primarily popular for the more conservative organs and applied by a few specific organ-builders in the protestant reformed communities in the northern provinces of The Netherlands: Groningen, Friesland and the north of Noord- Holland. In these regions the use of coal tar could be connected to ship-building, or to a traditional paint recipe of a specific painter or organ-builder. ■

Acknowledgements R. Lijnsvelt (Stichting Westerkerk Enkhuizen), R. Keppler (IC), M. de Keijzer (RCE), L. Megens (RCE), H. van Keulen (RCE), G. Tauber (RMA), N. van der Woude (SRAL), E. Geldhof (BTC), B. Jonker (IC), M. Polman (RCE), E. Winkel (Flentrop Orgelbouw) 48 49 50 51

Go with the glow try to manipulate the phosphorescent pigments and paints to find a suitable retouching medium. Treatment options for a work of art Practical and technical tests where carried out to find a retouching with a phosphorescent paint layer medium that resembles the original paint layer in daylight and also has a comparable emission spectrum. ■

Acknowledgements G. Kingma (RMT), P. Knolle (RMT), H. Offerhaus (UT), J. Westerik (UT), D.J. Dikken (UT), K. Keune

PD Res thesis 2012 (in Dutch) [Ellen Jansen] Phosphorescence is a complicated phenomenon. It is (RCE), S. de Groot (RCE), U. Beerhorst, A. Colombini (CICRP Marseille), M. Martindill (Artemis UK), a form of photoluminescence that is associated with electrons in a Y. Takeshima (Nemoto Europe BV), R. Brust (Brenntag Nederland / Lumilux), A. Vredenborg, triplet-state. This means that the spin of the excited electron changes J. Goezinne, P. Keune, A. van Ravesteyn, T. Oostendorp, M. de Visser, C. Kordes (Stedelijk Museum and therefore it returns slow(er) to an available lower-energy orbital. Schiedam) When returning the electron releases energy that we observe as light. Since this is a process that takes a long time, the phosphorescing object continues to glow in the dark. The phosphorescence in art materials is achieved by pigments. For this,

PD Res thesis supervisors I. Smit (RMT), L. Beerkens (SRAL) mostly phosphor zinc sulphide and rare earth pigments are used. Both type Reconstruction of ripple mouldings of pigments have different characteristics, but comparable degradation symptoms when exposed to UV-radiation, water and acids. When the pigments ■

are used in phosphorescing paints, the phosphorescent pigment, the medium, MA thesis 2012 (in Dutch) ■ [Thijs Janssen] The conservation-restoration of ripple mouldings is often the pre-treatment of the pigment and the filling materials determine the problematical. Traditional methods are either too expensive or too inaccurate. characteristics of the paint. The information that the manufacturers release In order to find alternatives, the applicability of computer operated tech- about the mixing of phosphorescent paint was combined with results from niques for the reproduction of ripple mouldings has been investigated. This practice-oriented research. This helped to create more understanding about exploratory research concentrated on the accuracy of accessible techniques the characteristics of phosphorescent paint and how it can be manipulated for milling and printing. A 17th century cabinet served as a case study. In for our own purposes. order to make an accurate reproduction, the characteristics of one of its loose

From the 1960s onwards, ‘stable’ phosphorescent art materials are avail- MA thesis supervisor S.M. Nijhuis (UvA) ripple mouldings was established. Accessible production techniques were able and many (known) artists have used them. The artwork Without Title selected with the help of Fablab, an organization that investigates and offers (1968) by Rainer ‘IMI’ Giese (Neheim-Hüsten, 1942-1974) from the collec- computer-operated techniques. tion Depot VB / VR of the RMT (Enschede, The Netherlands) is an example Two methods have been used for the reproduction of a ripple moulding. of a phosphorescent artwork. It consists of two beams painted with yellow A routing technique with a three-axial milling machine and, secondly, a phosphorescent Wiedelux paint. In daylight the paint looks yellow and in technique for 3D printing followed by Fused Deposition Modelling. In order the dark it has a yellow-green afterglow. to test these techniques, a contact 3D scanner was used to generate a 3D model Over the years, slowly a discrepancy has arisen between the original idea of the ripple moulding. The milling machine has proven to be an accurate of the artist and the condition of the artwork. Giese created rigid geometric method, but to allow for actual production, some additional research has to forms that give the illusion of a large spaciousness because of the phospho- be carried out. The method used for Fused Deposition Modelling did not rescent finish. On the surface several damages can be recognized that hinder deliver the required accuracy and it was also not possible to give the material the phosphorescence of the artwork and can be seen in the dark as black a satisfying finish. Some alternatives are proposed that can be tested. The spots. A conservation strategy was conceived for each specific damaged area. applicability of the computer operated production techniques is also limited The retouching of the lacunae in the phosphorescent paint layer proved to by the scanning method. The contact scanner is not mobile so ripple mould- be the biggest challenge. ings that are fixed on a cabinet cannot be scanned but alternatives to this Technical analysis determined that the original phosphorescent paint technique are proposed. ■ layer was cadmium based. Since cadmium cannot be used anymore for the production of phosphorescent pigments because of health and safety Acknowledgements regulations, the materials that are available on the market now have different Museum Rotterdam (MR), K. van Gelder (MR), M. de Visser (MR), C. van Soestbergen, Hout- en Meubileringscollege Amsterdam, Fablab Amsterdam (FA), B. Withagen (FA), Fablab Maastricht properties than the material that Giese used. Therefore, it was necessary to 50 51 52 53 Vergipsing: a specific damage does not seem to deform the substrate. As a suitable backing both new vellum and Tyvek were tested. Both materials displayed advantages and on parchment bookbindings disadvantages and can be utilized for different kind of applications. The two materials are stable, but the degraded parchment seemes to have a better adhesion with Tyvek. From an aesthetic point of view however, ■ ■

This abstract has been published previously ¹ MA thesis 2011 (in Dutch) ■ [Rachelle Keller] Deterioration and damage to parchment may have it is more obvious to use vellum, providing that the colour is similar to different causes. An exceptional appearance of damage is called ‘ver- the old parchment. Consequently in regard to the use of an appropiate gipsing’. The Dutch term – technically a misnomer meaning literally backing, this research does not provide a conclusive answer. ■ ‘to become plaster’ – was coined in an attempt to qualify the process of parchment becoming fragile and brittle at places displaying tension. Acknowledgements The contaminated parts often appear to be grayish in color. This kind of K. Scheper (Universitaire Bibliotheken Leiden), P. Hoftijzer (Universiteit Leiden), C. Duran Casablancas (Stadsarchief Amsterdam), R. van Gulik (Teylers Museum Haarlem), H. Porck damage is predominantly detected on the book’s spine, customary the (Koninklijke Bibliotheek), R. Larsen (School of Conservation, Copenhagen), A. Ames (RMA)

MA thesis supervisors J. Schrijen (UvA), E. Nijhoff Asser (IC) section of the binding most frequently exposed to external influences of light, air pollution and dust. It seems evident that the term ‘vergipsing’ has been used in different settings. On one hand the current state of research describes the occurrence of ‘vergipsing’ as a result of the absorption of sulphur dioxide from the air interacting with the calcium carbonate present in the skin thereby The filling-in of gaps in transparent producing calcium sulfate, otherwise known as gypsum. However to no extent evidence actually demonstrated the presence of gypsum in the finishes on wood using polymeric films parchment. On the other hand conservator-restorers use the term ‘vergipsing’ when the parchment becomes brittle, resembling the physical ■ H. den Otter (UvA) ■

properties of gypsum. MA thesis 2011 (in Dutch) ■ [Diederik Kits Nieuwenkamp] If a gap in an aged transparent coating Outside The Netherlands no specific term for this phenomenon is on wood with surface texture (craquelure) is filled properly, the aesthetic known. Possibly ‘vergipsing’ in itself is not recognized as a particular value of the object will increase and the old finish with its historical value type of damage. Preferably one should speak about the physical state of and patina can be preserved. the parchment, rather than about ‘vergipsing’. The aim of this study was to explore possibilities to fill up such gaps Details of this research will be published elsewhere Today’s bookconservator-restorer is not inclined to handle ‘vergipsing’ using exteriorly formed polymeric films. In the process of selecting on parchment bookbindings to prevent additional damage and the appropriate substances for such a film, key selection criteria are safety

potential loss of material. To date no set procedure for the conservation MA thesis supervisors S.M. Nijhuis (UvA), D. van Kempen for the object and the conservator-restorer, and features like texture, of ‘vergipst’ parchment has been developed. The lack of guidelines may saturation of the surface, the gloss and the thickness of the film used result in deleterious handling of the afflicted area and even the irrecover- and adhesion. able detriment of precious antiquities. Film-forming qualities were tested for a set of commercially available Once the bookconservator-restorer has decided to attempt to conserve synthetic resins. To obtain films with an aged-looking texture, a silicon ‘vergipst’ parchment a number of problems may occur: the parchment mould was used. Additionally, several ways to manipulate the optical can become gelatinous if the glue contains too much moisture, difficulties properties were tested. with the compatibility of the new backing with the old parchment may The conducted experiments showed that the physical and optical occur and, perhaps most obviously, the ‘vergipst’ parchment is terribly properties of the film are mainly determined by the choice of resin. The vulnerable to breakage due to its brittle nature. films of resins with a low molecular weight turned out to be too brittle In lieu of this hiatus in understanding the cause of ‘vergipsing’, this to handle. However, two other resins led to manageable and transparent research hopes to provide a potential conservation methodology making films and, advantageously, both can be dissolved in ethanol, a solvent use of the appropriate adhesive and backing. For glueing ‘vergipst’ with minor health risks. The experiments also revealed that gloss is parchment, Plextol D360 appeared to yield the best results of all glues determined by the texture of the mould and can also be influenced by the tested in this research. The flexible adhesive gives a solid suture and solvent in which the resin is dissolved or by which the film is reactivated. Several techniques have been developed to temper the gloss. The thickness of the film can be influenced by its mode of application. Saturation ¹ Keller, R., Journal of Paper Conservation 2011, vol. 12 – nr. 4, “Degree Works”. 52 53 54 55 of the colour of the wooden surface can be determined by the choice of the resin with which the film is attached. The film can be attached to the original finish using the same resin from which the film has been made. In this way the extra work is limited Understanding historical recipes for and the composition as a whole remains relatively simple. An experiment involving the bond strength showed that the adhesion to undamaged the modification of linseed oil wood is more than sufficient. However, in practice also the physical state An experimental study into the properties of of an object and its material composition have to be taken into account when choosing a resin and solvent. modified linseed oils for use as binding media The above-described technique has already been applied successfully in early northern European panel painting to an object. It seems to be a useful addition to the existing repertoire

of possibilities to fill gaps in (damaged) wooden surfaces that have a Invited contribution (Dept. of Art History, UvA) transparent, aged finish. It gives the opportunity to use materials that are known for their stability. The optical properties, the thickness and the texture of the film can be adjusted to the gap and the surrounding original A. Wallert (RMA, UvA) ■ ■

surface. Since the film formation does not take place on the object, the MA thesis (Dept. of Art History, UvA) 2012 (in English) ■ [Indra Kneepkens] Late medieval technical sources contain an array risk of damaging the object is minimized. The technique is relatively of procedures aiming at the modification of linseed oil for use as binding simple to carry out and no special measures are needed, which makes it media in late medieval panel painting. Although the benefits of such a suitable technique to use in private restoration studios. ■ modified oils are sometimes briefly described in the recipes, it is not always easy for the modern day reader to understand their exact meaning and application. Details of this research will be published elsewhere ¹ ² To gain a more profound understanding of late medieval recipes for the modification of linseed oils, a selection of recipes, each representing a particular category of binding media, was tested. A raw linseed oil that Study of agents that cause foxing formed the basis of all other oils was compared with a washed, a sun- thickened and a boiled variety. Furthermore two oils were prepared in on Japanese style paper which a combination of amber and colophony had been dissolved and another one that had been boiled with pumice powder and bone white and to which zinc sulfate was added as a dryer. The resulting binding ■ MA thesis supervisors A. Vandivere (UvA), MA thesis 2012 (in Dutch) ■ [Roosanne Kliphuis] Foxing, the occurrence of brownish spots on old paper, is media were tested with different pigments and different application well known for its disturbing appearance and in paper conservation-restoration techniques. During and after application, the handling properties, drying from the 1930s on a lot of research has been carried out to sort out this problem. time and appearance of the paints (before and after a period of artificial However, foxing on Japanese style paper, an important and widely used type of ageing) were analyzed and compared. Interestingly each of the different paper, has hardly been investigated. Since Japanese style and Western paper differ binding media turned out to have its specific affordances and weaknesses, in composition and manufacturing process, the results of the foxing research of depending largely on the choice of pigment and application technique. Western paper do not necessarily carry over to Japanese style paper. A sample of each binding medium was also studied with Thermally

MA thesis supervisor B. van Velzen (UvA) The Dutch artist Carel Visser has made a set of woodblock prints on Japanese assisted Hydrolysis and Methylation GC-MS in combination with style paper that has various foxing problems. The foxing has been investigated by Curie Point pyrolysis, to get an idea of differences in oxidation and tracing back the context of the prints, examining them with analytical techniques, polymerization as a result of the applied modification methods. This executing an experiment and reviewing relevant literature. The most important information was used in a preliminary attempt to understand the differ- conclusion is that iron is likely to induce foxing in Japanese paper by oxidation ences between the properties of the oils. Considering the extra expenses and migration processes while the role of environmental conditions is probably and trouble of preparing modified linseed oils, including terrible stench much smaller. ■

¹ Kneepkens, I., A. Wallert, R. de Jongh. “A substance which serves all paints” In: Making and Acknowledgements transforming art: Changes in artists’ materials and practice. Proceedings of the 5th Interim meeting F. Ligterink (RCE), D. Christoforou (RMA), P. Clement, M. Jürgens (RMA) of the ATSR ICOM-CC workgroup, Archetype, London. 2013. Accepted for publication. ² Kneepkens, I., J. Dik, K. Keune, G.V. van der Snickt, A. van Loon. 2013. To be submitted. 54 55 56 57 and the risk of explosion, an estimation was made of the likelihood that some of these binding media would indeed have been used for late medieval panel painting. Because of the extreme variety in properties that was found, this Flaunting ostrich feathers research supports the idea that perhaps a much wider variety of modified oils was used in late medieval painting in general, and even in single paint- Research on the yellowing ings, than we have so far been able to identify. Therefore, a more structural of white ostrich feathers binding medium analysis is recommended in which the application technique and choice of pigments are considered key elements. ■ ■ J.P.B.M. de Vries (UvA), R. Peschar (UvA)

Acknowledgements [Marjolein Koek] The conservation and restoration of ostrich feathers MA thesis 2012 (in Dutch) ■ A.A. de Tagle (RCE), R. de Jongh, S. Neven, H. van Keulen (RCE), K. Keune (RCE), K.J. van den Berg usually focuses on the removal of dust and /or dirt particles on the feather (RCE), J. Pedroso (RMA), S. de Groot (RCE), M. van Bommel (RCE), F. Ligterink (RCE), M. de Keijzer (RCE), K. Padding (MVP), H. Baija (RMA), A. Pappot (RMA), J. van Iperen (RMA), M. van der Laar (IC), and the consolidation of fractures in the feather shaft. Until now the I. Rijkers, H. Neevel (RCE) problem of discoloration in the form of yellowing on white (ostrich) feathers has not been described as such. This research focuses on what causes this discoloration on white ostrich feathers and how the yellowing may be reduced or even removed. The study is relevant for conservator-

restorers of (ostrich) feathers, possibly in combination with textiles or MA thesis supervisors R. Lugtigheid (UvA), other materials, in which the damage to feathers in the form of yellowing is visible. A ball gown with a collar of ostrich feathers acted as a case study and determined the framework within which the research took place. Some yellowed feather material that already had come loose was used as reference in the analyses. White ostrich feather sample material was artificially aged under various conditions (light, temperature and relative humidity). All samples were analyzed with microscopy and FTIR. Various solvents were tested for their effectiveness at reducing or removing the yellowing. The accelerated aging results show that yellowing can be induced by both light and temperature / humidity. Furthermore, the physical structure of the white ostrich feathers and the optical reflection of light by the white ‘color’ influence the perception of discoloration. The ideal treatment has a low ‘intensity’ (i.e. the treatment is reticent), stabilizes the conditional state of the object, and the treatment provides visual improvement to the object. Considering these aspects, treatment with a deionized water rinse is the most suitable choice found so far. ■

Acknowledgements J. Pedroso (RMA), K. Keune (RCE), S. de Groot (RCE), Amsterdam Museum (AM), L. Wurfbain (AM), L. Sterenborg (AM), A. Rae, J. van Iperen (RMA), M. Reuss, N. Bloemberg, J. van den Berg, Technical tests in lead white (top row), madder lake (second row), verdigris (third row) and Struisvogelboerderij Monnikenwerve Sluis, L. Hanssen, S. Meijer (RMA), M. van Bommel (RCE), azurite (bottom row) with raw linseed oil, washed linseed oil, sun-thickened linseed oil, boiled linseed oil, amber-colophony varnish, fused amber-colophony varnish and oleum preciosum A.A. de Tagle (RCE), E. de Groot, L. van Ravels (from left to right)

56 57 58 59 previously demonstrated links between the instructions from De Groote In the clouds with Willem Beurs? Waereld in ‘t Kleen Geschildert […] and the actual professional painting practise in The Netherlands in the 17th century. A study into the value of De Groote Waereld By means of this research, more insight has been gained on the value of in ’t Kleen Geschildert […] (1692) by Willem De Groote Waereld in ‘t Kleen Geschildert […] and the resulting thesis can contribute to the annotated English version of the treatise, which is cur- Beurs as technical art history source rently being undertaken by dr. A. Wallert (RMA). Although further research is recommended, it may be concluded that the treatise of Willem Beurs can be considered an uttermost interesting and possibly important contemporary source on the art of oil painting in the Northern Netherlands in the ■

MA thesis 2011 (in Dutch) ■ [Jorinde Koenen] This thesis concerns research on the value of De Groote 17th century. ■ Waereld in ’t Kleen Geschildert […] (1692), a treatise on the practise of oil painting written by Willem Beurs, as an art technological source. The Acknowledgements relatively unknown Dutch painter Willem Beurs described in his treatise K. Keune (RCE), I. Verslype (RMA) ‘general’ practical information including the preparation and use of various pigments and colorants, the preparation of canvasses and panels and the various brushes a painter could use. The largest part of the treatise consists

MA thesis supervisors A. Wallert (RMA, UvA), M.J.N. Stols-Witlox (UvA) of specific instructions for depicting all kinds of subjects, in which Willem Beurs mainly indicates which pigments and colorants the painter should use and how every subject should be build up. Even though several links Restoration history of seventeenth between the contents of De Groote Waereld in ‘t Kleen Geschildert […] and actual professional painting practise in The Netherlands have been proven century cupboards from the Dutch to exist in the past, there still is a lot of uncertainty concerning the value of province Zeeland the treatise and the work is not yet generally acknowledged as an important contemporary source on the art of oil painting in the Northern Netherlands in the 17th century. This uncertainty has been the main reason for setting up ■

a research project. MA thesis 2012 (in Dutch) ■ [Laura Koster] A study of the restoration history of five 17th century This thesis can be divided into two sections. Within the theoretical cupboards from the Dutch province Zeeland has been carried out in order part of the research Willem Beurs’ ‘general’ practical information has been to contribute to the history of furniture restoration, a field that has not been thoroughly analysed and the treatise was placed within the 17th century studied extensively yet. tradition of writing on the Dutch art of oil painting. This has shown that The Zeeland cupboard can be defined as a type of cupboard that probably De Groote Waereld in ‘t Kleen Geschildert […] can be considered rather originates from the Dutch province of Zeeland, and is dated between 1620 unique in terms of structure and furthermore that the treatise contains and 1670. The oak cupboard has a separate under and upper section, and a

interesting and exclusive information regarding the pigments and colorants MA thesis supervisor S.M. Nijhuis (UvA) total height of about 160 cm. Typically, the cupboard is heavily decorated that were in use in The Netherlands during the 17th century. with ebony and rosewood veneer, and carvings, e.g. lion heads, half-figures Within the technical part of the research paintings were analysed to and cherub heads. The doors are embellished with geometrical patterns of determine to what extent Willem Beurs’ specific instructions for painting skies cornice mouldings. in land- and seascapes can be considered a reliable reflection of the actual The many different structural elements, materials and decorations was 17th century painting practise in the Northern Netherlands. Nine land- and one reason to take this type of cupboard as a case study. A second reason seascapes by the painters Ludolf Bakhuysen (1630-1708), Jacob Isaacksz. was that the cupboards are almost four centuries old, so likely to have van Ruisdael (1628-1682) and Willem II van de Velde (1633-1707) from undergone restorations. the collection of the RMA were examined. A total of 27 paint cross-sections The five Zeeland cupboards, all with an unknown conservation-restoration was analysed using optical light microscopy, SEM-EDX and XRF analyses. history, have been visually analyzed and photographed in detail in order to The resulting information about the used materials and techniques was discover possible restorations. A systematic procedure has been set up to compared with the instructions given by Willem Beurs and this comparison document possible restorations, and instructions have been formulated how has shown many similarities. With this result, the current research joins the to recognize them. 58 59 60 61 The characteristics of the cupboards, e.g. composition, the use of material French owl hallmarks on the Horseman jewel, image made with the and decoration, as found in literature have been updated and expanded Hirox KH-7700 digital microscope, courtesy of the Rijksmuseum Amsterdam with the results of this study. At each cupboard various restorations were recognizable. For example, parts such as the legs and the rear side of the cupboards have often been replaced. Also, many small additions to the veneer, carvings and mouldings have been discovered. Locks and pivot hinges have often been refastened with screws, or have even been replaced completely. The study reveals that at least one of the cupboards consists of old and new parts, and there is clear evidence that the appearance of at least two of the other cupboards has been modified in the course of time. In addition to clearly recognizable alterations and restorations, also potential alterations have been documented. This may be helpful in the decision-making process of future restorations. The results of this study not only provides us with insight into the history of restoration of these 17th century Zeeland cupboards but we also have now a more substantial idea about how these cupboards originally looked like, which should make it easier to recognize any restorations at other Zeeland cupboards. ■

Acknowledgements Kasteel Duivenvoorde (KD), A. de Vries (KD), Rijksdienst voor het Cultureel Erfgoed, S.E.M. Braat (RCE), R.M. Kievits (RCE), E. Sadée (RCE), L. van Baars (IC), R. Klusener (HKA), J. Hoving (HKA), R. van Gilse

technical evaluation, can provide data about the attribution of the two Authentic, fake, restored or pastiche? RMA jewels. The technical research focused on the condition and the manufacturing of the jewels, the determination of the gemstones and Two Renaissance jewels from the Mannheimer the composition of the enamel. Data were acquired by means of visual collection at the Rijksmuseum Amsterdam examination, using a dichroscope, a spectroscope and XRF. The results suggest that provenance research can be very helpful in determining the history of the jewellery and their current condition. This information is valuable for the conservator-restorer when a treatment (RMA) J.E. van Reekum (UvA), J. Bennekom (RMA), E. Bork ■

MA thesis 2012 (in Dutch) ■ [Suzanne van Leeuwen] In 1952 part of the art collection of the plan has to be formulated. ■

■ German banker Dr. Fritz Mannheimer (1890-1939) was added to the A paper about this work is in preparation collection of the RMA. This collection includes many 16th and 17th Acknowledgements century Renaissance jewels composed of gold, gemstones, pearls and D.J. Biemond (RMA), R. van Langh (RMA), J. Pedroso (RMA), J. van Iperen (RMA), T. Davidowitz, H. Zwaan (NCB Naturalis Leiden), M. Akkerman, L. Opgenhaffen (LOPD, Grafische oplossingen enamel. Recently, the period in which two of the RMA jewels were made voor de Archeologie), W. Gans (Premsela en Hamburger, Amsterdam), A.A. de Tagle (RCE) has been questioned. In recent publications on Renaissance jewellery in other collections,

MA thesis supervisors archival, literature and technical material research have been used to make a statement on the authenticity of such jewellery. Since most of the Mannheimer collection has never been subjected to this type of research, the aim of this thesis research was to answer the question whether a provenance study, in combination with a non-destructive 60 61 62

Acetylacetone – research on cleaning Etching bath with diluted nitric acid and 925 silver coupon brass elements on furniture covered with beeswax J. van Bennekom (RMA), G. Gerven (RMA) ■

MA thesis 2012 (in Dutch) ■ [Julia Leunge] Conserving non-removable cast and sheet-metal brass elements on furniture can reveal difficulties concerning the desired appearance of the metal and the way to achieve this appearance. Common products for cleaning brass generally require rinsing after treatment, which is usually problematic in furniture conservation-restoration. Therefore a cleaning product was sought that does not require rinsing. It was expected that the chelating agent 2,4 pentanedione, also known

MA thesis supervisors J.E. van Reekum (UvA), N.H. Tennent (UvA), as acetylacetone, would be a suitable candidate because of its fast evaporation rate. By reviewing the literature, a better knowledge of current conservation practice regarding furniture with brass elements was obtained; it became clear that in choosing brass as a decorative element on furniture, colour has always played a large role. The similarity to gold of certain alloy compositions, of around 30 wt % zinc, is and has always been much Etching of silver; technology, appreciated. In restoring brass on furniture conservator-restorers tend to be reticent, which is not always because of the desire for reversibility reconstruction and identification but also for mere esthetic reasons. Three experiments were executed to obtain insight into the potential ■ scheduled for publication in the Stavelij ¹ J. van Bennekom (RMA), S. Creange I. Joosten (RCE) ■

role of acetylacetone in the conservation of brass. The first experiment MA thesis 2011 (in Dutch) ■ [Marije Meddeler] For optimal treatment of historical objects it is consisted of creating a chemical reaction by adding acetylacetone to five essential to be able to identify manufacturing techniques. The aim of this different copper salts which are also present in corrosion products of thesis was to develop a systematic approach to distinguish etching from brass. FTIR analysis of the reaction products revealed that in all cases the other decoration techniques on silver, based on visual characteristics and formation of a copper-acetylacetonate chelate was highly probable. The the chemical composition of etched silver objects. objective of the second experiment was to attain understanding of the Etching experiments were conducted based on three historical written long term consequences of treatment with acetylacetone. Brass test strips sources (11th, 16th and 18th century) with silver etching recipes. Sterling

underwent treatment of different durations, followed by different after- MA thesis supervisors T.C.P. Beentjes (UvA), silver coupons were used to reconstruct these historic recipes. The coupons treatments. Subsequently, the test strips were placed in an accelerated- were analyzed using stereomicroscopy, confocal microscopy, SEM aging machine under high relative humidity conditions (70%) and and SEM-EDS to identify the characteristics of the etching technique and with temperatures varying between 50 and 90 °C. The outcome of this to enable differentiation between etching and other silver decoration experiment was inconclusive, as treatment with acetylacetone left a layer techniques. of some kind on all surfaces, regardless of the after-treatment. The precise Eight differentiation features were identified and used as a guide to nature of these layers has not yet been established. A third experiment identify the decoration technique on works of art. Some objects in the was conducted in order to monitor the behavior of brass undergoing Details of this research are collection of the RMA were examined in order to test the systematic extremely long exposure to acetylacetone. A test strip was therefore approach and its suitability in future research. ■ submerged in the chelating agent for 30 days, after which the surface of the brass strip appeared to have been etched by the chelation process. ■ Acknowledgements R. van Langh (RMA), A. Stijnman, J.P. van Rijen (Radboud Universiteit Nijmegen), J. Wolters, H. van der Weijde, L. Megens (RCE), E. van Bork (RMA), A. Pappot (RMA),T. Davidowitz, Acknowledgements J. Nienhuis (RMA) M. Langeveld (IC), L. Megens (RCE), S. de Groot (RCE), K. Keune (RCE), B. Ankersmit (RCE), I. Joosten (RCE)

¹ Meddeler, M., Stavelij. 2013. Accepted for publication. http://www.stavelij/nl/ (04-03-2012). 62 63 65 In historical sources from the 19th and early 20th century fourteen recipes were found for crayons containing diverse wax- or grease materials as binding medium, always in combination. Most crayons were used for writing on glass or metal, only a few were specifically meant for artists. Also, no information was found on European manufacturers and suppliers of such crayons, while more data were available on wax crayons on the American market. Four of the fourteen historic recipes found were reconstructed. The influence of different ingredients on the quality of the crayon was studied, as were their morphological characteristics. Eight drawings by Van Gogh, and five by contemporary artists like Schuffenecker, Bernard and Gauguin were examined visually in reflected, raking and transmitted light and under magnification.XRF analysis was conducted at seven drawings. Fifteen micro-samples were taken from selected drawings. These were analyzed with FTIR and GC-MS. XRF analysis confirmed the presence of pigments typically for the 19th century. FTIR analysis revealed the presence of fillers (clay, chalk) in the crayons but was less useful in determination of binding media. Better results were obtained with GC-MS analysis, determining a combination of beeswax and grease (tallow) in the three samples analyzed. This was in agreement with the historic recipes. Based on examination of lines drawn with reconstructed crayons and the original drawings, a nomenclature Examination of crayonlines on a drawing by for morphological features specific for crayons with wax,- grease- or oil Van Gogh with a Dino-Lite USB microscope containing binding media was developed. Crayons with beeswax and grease as binding medium were on the Oil, wax or grease? What kind of market in the late 19th century and were indeed used by van Gogh as drawing material. Visual examination proves to be an important pre- coloured crayon did Vincent van Gogh determination step, but a final conclusion on which binding media are use in his drawings? present in a coloured crayon needs to be verified with GC-MS analysis. The nomenclature for morphological features is usable to identify aged and new crayon lines as crayon with a binding medium of wax and grease. This thesis was part of the research project ‘Van Gogh’s studio prac- ■ ■ B. van Velzen (UvA), B. Reissland (RCE), T. Meedendorp ( The Master-these has been published ² MA thesis 2011 (in Dutch) ■ This abstract has been published previously ¹ [Alexandra Nederlof] Vincent van Gogh drew during his stay in Antwerp tice in context’ which is a joint project of the VGMA, the RCE and Shell and Paris a number of drawings with colored crayons that probably Research Laboratories. ■ contained an oil, wax or grease as binding medium. To gain new insight into Van Gogh’s working method and to better understand the nature of Acknowledgements his drawing technique, this group of drawings has been closely examined. Van Gogh Museum Amsterdam, Shell Research Laboratories Amsterdam, L. Megens (RCE), H. van Keulen (RCE), S. de Groot (RCE), N. Lingbeek (IC) Focus of this thesis were the questions: Which crayons were on the market in late 19th century? What is the composition of the coloured crayons

MA thesis supervisors used by van Gogh and can we trace back where he purchased them? Can morphological characteristics reveal more about the nature of the binding medium of a crayon?

¹ Nederlof, A., Journal of Paper Conservation 2011, vol. 12 – nr. 4, “Degree Works”. ² “Permanent, Water-Proof and Unequalled for Outdoor Sketching” Van Gogh’s use of wax crayons. VGMA) Reissland, Birgit, Alexandra Nederlof, Teio Meedendorp, Suzan de Groot, Henk van Keulen, Luc Megens, Bas van Velzen. In: Van Gogh’s Studio Practice, Van Gogh Museum Publicaties, 2013. 64 65 66 67 Dry Cleaning: the effect of six chemical residues on unvarnished oil paintings The execution of wax-resin linings by

E.M. Froment (UvA), O.V. van Maanen (UvA) ■ Johannes Albertus Hesterman (1848 -1916) MA thesis 2012 (in Dutch) ■ [Zuhura Oruç-Iddi] In the process of surface dirt removal from unvarnished paintings with dry-cleaning materials, some chemical residues and sons can be left on the surface. These chemicals pose a potential risk to the oil paint and therefore a study has been carried out, focusing on the optical A research into their working and mechanical effects that six extractable chemicals may have on method and materials unvarnished oil paint layers. Six chemicals were selected (a surfactant, an UV-light stabilizer, two plasticizers, a vulcanizer and an antioxidant)

MA thesis supervisors: V. Blok (UvA) E.E. van Duijn (UvA), that have been detected recently on unvarnished paint surfaces (RCE, ■ ■ MA thesis 2012 (in Dutch) ■ unpublished results). [Saskia van Oudheusden] This Master thesis concentrates on the wax- A paper about this work is in preparation In the experiments the pure chemicals were applied at various resin lining method of the Dutch artist and conservator Johannes Albertus concentrations on oil paint samples and microscope glasses. After light- Hesterman (1848-1916) and his sons Frederik Coenraad (1873-1932) aging, both accelerated-light and natural-light aging, the latter in line and Johannes Albertus Jr (1877-1955). Five 17th century portraits of with dark aging, color changes were evaluated visually, the naked eye in various doctors from the collection in the AM, which were lined by the daylight and UV light, and combined with colorimetric data. Cleaning Hestermans in the years 1907-8 are investigated. In addition, reconstruc- tests were carried out to establish whether the observed optical changes tions of wax-resin linings and research into literature and archival sources

could be remedied. have been carried out. MA thesis supervisor E.E. van Duijn (UvA) Discoloration connected to any of the six chemicals has not been ob- The similarities between the linings that have been studied suggest served, the main optical effect being an increase of the gloss after applica- a standardised lining method. The linings are carefully executed by the tion of the substances to the oil paint samples. The Hirox 3D microscope Hestermans with attention to and respecting the original material. The of the RMA allowed a detailed examination under 140 × magnification of study of a logbook of the Hestermans has made clear that they lined pressure tests on the oil paint samples. Oil paint samples treated with paintings as a preventative measure, with the exception of relatively new the vulcanizer showed embrittlement. Vulcanizers are present in rubber paintings. This research shows that in their careful, and for that time, and some types of soft erasers and make-up sponges. The six types of ethical approach with regard to the lining of paintings, the lining method chemicals are all easily removable with aromatic solvents. ■ of the Hestermans closely resembles that of Willem Antonij Hopman (1828-1910) and his father Nicolaas Hopman (1794-1870), the founders Acknowledgements of the wax-resin lining method. A.W. Brokerhof (RCE), M. de Keijzer (RCE), A.A. de Tagle (RCE), S. Jonker (trainee RCE), This research has been presented as a poster at the CiNC conference- K. Keune (RCE), F.J. Ligterink (RCE), L. Megens (RCE), H. Neevel (RCE), J. Pedroso (RMA), B. Reissland (RCE), K.J. van den Berg (RCE), J. van Iperen (RMA), H. van Keulen (RCE), B. Wei (RCE), Conservation in the Nineteenth Century, Copenhagen 13-05-2013 /14- F.R.E. Kuyvenhoven (RCE), B. Verissimo (RMA), M. Daudin-Schotte (RCE) 05-2013 as well as at the Interim Meeting of ICOM-CC Theory & History, Copenhagen 16-05-2013 /17-05-2013. ■

Acknowledgements M. van de Laar (Rma), K. Keune (RCE), N. Middelkoop (AM), G. Reichwein (AM), L. Visser (RKD), M. Franken (RKD), M. te Marvelde (fhm), D.H. Johnson (Rice University, Houston, Texas USA), C.R. Johnson (Cornell University, Ithaca, New York USA), R.G. Erdmann (University of Arizona, Tucson, Arizona USA)

66 67 68 69 Darkening of gilt leather hangings in The Netherlands ■ Characterizing degradation in the best MA thesis 2012 awarded by Migelien Gerritzen Fonds

[Martine Posthuma de Boer] In The Netherlands a considerable MA thesis 2012 (in Dutch) ■ decorative finish of two case-studies: amount of 18th century gilt leather hangings has been preserved ‘in situ’. Sint Pietershof Hoorn and Weeshuis For the past decade heritage professionals have raised great concern about their material condition, as several hangings locally show severe darken- der Hervormden Schiedam ings. These degradations have been registered in at least eight locations in The Netherlands, but are expected to be more widespread. Conservator- restorers and interior specialists suggest that the dark stains may be the

result of past conservation treatments with oil dressings and emulsions, MA thesis supervisors D. van Kempen (UvA), K. Keune (RCE), E. Nijhoff Asser (IC) ■ during the second half of the 20th century. A systematic description and characterization of this darkening has been started by examining two examples of Dutch 18th century gilt leather hangings: Sint Pietershof, Hoorn and Weeshuis der Hervormden, Schiedam. A literature and archive review of the products used in gilt leather conservation during the past decades has been undertaken, allowing / a better understanding of the relationship between past conservation Rijksmuseum Fonds ■ treatments and the observed degradations. Analyses of the different layers of the decorative ‘golden’ finish have been carried out – consisting of a silver leaf applied with a parchment glue and coated with an oil-resin varnish (‘golden varnish’). Visual observations

of the degradation phenomena have been complemented by comparing Publication of this work is in preparation cross-sections of un-darkened and darkened gilt leather samples, using light microscopy, SEM-EDX and GC-MS. The results indicate that degradation processes related to the darkening are taking place in both the silver and varnish layers. This study is a first step in identifying the degradation phenomena that occur in the decorative finishes of gilt leather hangings, which can be related to past conservation treatments. The irreversible character of the degradations in both silver and varnish layers, underlines the importance Prize for the of further identification of the degradation mechanisms and the role of climatic conditions, such as relative humidity, moisture and gaseous pollutants. Eventually, this will contribute to the development of preventive conservation measures for gilt leather hangings ‘in situ’ that are known to have undergone oil treatments in the past. ■

Acknowledgements Darkening of gilt leather hangings, Rijksdienst voor het Cultureel Erfgoed (RCE), Rijksmuseum Amsterdam (RMA), Sint Pietershof Weeshuis der Hervormden, Schiedam Hoorn, Vereniging Hendrick de Keyser (VHdK), M. de Keijzer (RCE), K.J. van den Berg (RCE), ( Vereniging Hendrick de Keyser) H. van Keulen (RCE), F. Ligterink (RCE), M. van Bommel (RCE), L. Megens (RCE), J. van Iperen (RMA), J. Pedroso (RMA), A.A. de Tagle (RCE), K. Vozza-van den Broucke (VHdK), N. van der Woude (SRAL), E. Koldeweij (RCE), R. Scheres (IC), T. Sturge, P. Hallebeek 68 69 70 71 The application of solvent gels These case studies examine the considerations necessary before selecting a cleaning gel and describe the customized solvent gel in the conservation of historic interiors specific to each artwork. The chemistry and function of the ingre- Two case studies dients used to make these gels are explained. In this way, when a conservator-restorer knows what is available, how to customize it, and how the ingredients work in specific cases, a deliberated cleaning system can be selected or devised. ■ K. Seymour (UvA, SRAL) ■

PD Res thesis 2012 (in English) [Willianne van der Sar] In the 1980s, professor Richard Wolbers developed alternative methods for the cleaning of painted surfaces. Acknowledgements His innovative approaches consist of utilizing specific aqueous Stichting de Fundatie van de Vrijvrouwe van Renswoude, L. Megens (RCE), K. Keune (RCE), M. de Keijzer (RCE), D. Hess Norris (WUDPAC), J. Hill Stoner (WUDPAC), S. Behrens (UD), methods (enzymatic digestions, chelation, acid-base chemistry A. McCullin (UD), A. Cresci, T. Zadrozny, S. Zadrozny, C. Tomkiewicz, R. Fevola and tailored solvent-surfactant systems) to aid in the removal of non-original coatings or retouches. When thickened, these A publication about this work is in preparation water-based or solvent-based systems provide more control during cleaning, in contrast to the application of free solvents. Also,

PD Res thesis supervisors R. Wolbers (University of Delaware, USA), they are favorable for the removal of complex layers and can solubilize a wide range of materials. Furthermore, these systems The ideal state of the object: can be formulated to unpack specific layers while leaving others layers intact. Removing a specific layer requires some knowledge four 17th century doors from the Hof about the paint composition of the object and the layer(s) to be van Moerkerken in Mijnsheerenland removed. Although Wolbers’ cleaning systems could resolve problematic cases, they are not yet entirely integrated into Application of a methodology everyday practice in private and public conservation studios. His philosophy that “a conservator should be able to make his own K. Seymour (UvA, SRAL) ■

cleaning agents and thus know what materials are being used,” is PD Res thesis 2012 (in Dutch) [Merel van Schrojenstein Lantman] This thesis concerns the conser- an ambitious philosophy which requires chemical understanding vation and restoration of a painted door from the 17th century. This and insight. door is part of a group of four doors, painted at the same time for a Also, he does not want to provide ‘cure-all’ recipes, but rather country house in the southwest of The Netherlands. These four doors to offer a new methodology with which to manipulate and apply are very special, because doors from the 17th century, decorated with various cleaning components.Two case studies have been carried colorful and beautifully painted life size figures, have very rarely out involving the conservation treatment of a canvas mural A paper about this work is in preparation survived in The Netherlands. (ca. 3.3 m × 3.0 m) in the Holy Innocent Roman Catholic Church Today, the doors are still in the same house as they were made for, but

in Brooklyn NY. This mural was damaged by water from a roof PD Res thesis supervisors N. van de Woude (SRAL), the interior of the house has undergone a lot of changes and the doors leakage and darkened due to accumulated layers of dirt and soot too. This research started with a quest to find the original location of the resulting from a fire in the past. A solvent based Carbopol-solvent- doors in the house. This was hoped to be achieved using architectural surfactant system was tailored to remove the non-original alkyd paint research, archival research and research into the building history. coating and the layers of dirt and soot from the water sensitive Traces of paint on the surface of the door that could be matched to traces emulsion paint. The second case study focused on the preliminary of paint on the doorposts or walls would prove their origin. These traces investigation and proposal for treatment of a brick wall sculp- were not found however. Research in archives and building history did ture (ca. 3.0 m × 7.8 m) in Spencer Lab, Mechanical Engineering add a lot of information about the history of the house but not specifi- department of the University of Delaware in Newark. Due to cally about the doors. leaks in the roof and skylight areas over the years, efflorescence The results of this research were applied in a pilot treatment of one and tide lines became visible at the surface of the mural. The efflo- of the doors. What made this a challenge, was that the four doors have to rescence and coating were sampled and tested and subsequently a be treated as a group, and not as singular objects. Furthermore, a connec- Pemulen emulsion gel was tailored to remove the coating simulta- tion with the interior which they came from and will go back to must be neously with the efflorescence. kept. Therefore, the method of stabilizing the object first and then look at 70 71 72 73 the aesthetics and determine where action is needed, will not do in this case. An inte- Oral history, gral approach was needed to ensure a unified result. To achieve this, a methodology a source for the future was used to assess the different values The application of oral history to of the doors in order to make treatment decisions. This methodology was adapted historic interiors and the history from Barbara Applebaum as described of restoration in The Netherlands in her book “Conservation Treatment Methodology”. To determine the ideal during the 1970s state of the object, also the value model of Alois Riegl as described in “The modern cult of Monuments” was used. ■ ■

The determination of the ideal state has [Hinke M. Sigmond] Research has been carried out regarding Part of this work has been published in the magazine cultural heritage agency The Netherlands (RCE) (2, 2013) MA thesis 2011 (in Dutch) ■ been tested in practice, by execution of a the working method of conservator-restorers of historic interiors treatment of one of the doors with the goal in The Netherlands during the 1970s. As research strategy a of reaching the ideal state as previously qualitative research method, oral history, has been used in the determined. During treatment, some prob- form of individual in-depth interviews. lems were encountered and these made it The objective of the research was twofold. On one hand it clear that not all treatment decisions can be aimed at composing and adjusting a research method specifically made before starting a treatment. Some- for this field, but which could be useful for other conservation- MA thesis supervisors D. van Kempen (UvA), S. Stigter B. Crijns (RCE) times it is also necessary to deviate from restoration professionals as well. On the other hand, with the the predetermined goals. use of oral history, it was intended to gain more insight in the Although the treatment was not yet history of conservation-restoration as a profession and, on a more finished by time of publishing this thesis, specific scale, information about working methods, the working the treatment has successfully met the environment, and past restoration materials and techniques. More predetermined goals as a whole with a mini- knowledge about these subjects is valuable for future development mum of compromise. Application of the of the profession, and can be useful in daily practise, e.g. how to method helped to make informed treatment deal with old restorations. Because of this broad approach, the decisions and to achieve a unified result. research had a strong inventory character. It is strongly recommended that the three A target group of thirteen conservator-restorers, active during other doors will also be treated using the Door with image of a woman the 1970s in conservation-restoration of historic interiors, has with a feather; after treatment same methodology. A paper about this been approached, of which eight agreed to participate in the work is in preparation. ■ research. The interviews have been recorded digitally and tran- scribed. An interview guide has been set up and used during the Acknowledgements interviews. Three themes played a prominent role in the guide: H. Moerkerk, S. Moerkerk, M. Moerkerk, D. Stolk, background and education, working environment, and materials B. Olde Meierink (Bureau voor Bouwhistorie en Architec tuurgeschiedenis, Utrecht), E. Koldeweij (RCE), M. Polman and techniques. The interviews yielded a great deal of information, (RCE), B. van Os (RCE), M. Greil (Rgd), S. Nooren (Rgd), not only in relation to the three subjects, but it has also revealed H. Brouwer (Rgd), J. van Iperen (RMA), C.R. Matsen new, interesting issues which were not foreseen. Insight has been (WMD), R. Wolbers (University of Delaware USA) gained on conservation-restoration as a profession in the 1970s and the mutual working relationship of conservator-restorers with other colleagues in the field. Apart from the three foreseen categories, new factors that played a role in gaining knowledge in the working field have been established, namely the ‘Central Laboratory’ and the ‘Rijksdienst voor de Monumentenzorg’ 72 73 75 Research and restoration of Family Portrait by Gillis van Tilborch (appr. 1665) K. Seymour (UvA, SRAL) ■

PD Res thesis 2012 (in Dutch) [Susan Smelt] As part of the two-year post-master training course of the Conservation and Restoration of Cultural Heritage at the UvA, an investigation and restoration of the painting Family Portrait by the Flemish artist Gillis van Tilborch has been carried out. This painting, owned by the Royal Picture Gallery Publication of this work is in preparation ¹ MDH, was purchased in 1827 by King Willem I for the Mauritshuis. Family Portrait is an oil painting on canvas

PD Res thesis supervisors S. Meloni (MDH), dating to the second half of the 17th century, it measures approximately 80 × 104 cm and is signed in the lower right corner “Tilborch”. The restoration of Family Portrait was necessary to improve both the legibility and aesthetic quality of the painting. Before the treatment, the painting was covered with a thick layer of yellowed varnish with a marked degree of cracking, as well as overpaint, both of which were visually disturbing. To support the decision-making process during the restoration, an extensive literature and archival research was carried out, focusing on the life and oeuvre of the painter Gillis van Tilborch, his materials and techniques, the provenance of the painting and the paintings restora- In 1974 conservator-restorers remove a tion history. later overpainting in St. Gerlachuschurch Houthem to Limburg, so the baroque (Dutch Agency for Cultural Heritage). From the information Initially it was believed that the architect, Peter frescoes are visible again. gained from the interviews, it can be concluded that the work Balkenende, his family, including his son-in-law the Source: Cultural Heritage Agency of The Netherlands and learning experiences during practical work have played a painter Paul Potter and Balkenende’s friends, the painters prominent role in the build-up of professional knowledge. The Adriaan van Ostade, Carel de Moor as well as Gillis van career paths of those interviewed are diverse and are characterized Tilborch himself were depicted in the painting. However, by a great deal of self-sufficiency. The interviews have also in a 1874 catalogue the MDH revealed that this assumption given a more profound insight into developments in the field of is incorrect. As a result, the identity of portrayed family is conservation-restoration and shifting values and interpretations currently unknown. over time. In a broader sense the research has helped to position The painting is no longer on its original stretcher, the profession in its historic context. The research methodology which was most likely replaced by W.A. Hopman during itself has proven to be successful and is, with some adjustments, a treatment in 1891. The original canvas is of plain weave possibly useful for future research in this field. ■ and made of linen; flax fibers that were spun into a thread. Only along the top left cusping can still be seen. Tilborch Acknowledgements painted two priming layers on the painting, which were R. Bremer, B. Jonker, P. Dijkman, H. Nagtegaal, P. de Ruyter, D. Schoonekamp, A. Verheij, W. Haakma Wagenaar, T. Scholte (RCE), IJ. Hummelen (RCE), M. Eigenfeld (Motivaction BV Amsterdam), J. Hill Stoner (WMD), E.E. van Duijn (UvA) ¹ Mauritshuis Den Haag. In Focus, to be published. 74 75 76 77 on the painting is most likely not original and consists of several layers. Prior to the restoration, the painting was extensively documented in the forms of images and reports. Images of the painting include both front and back, in normal light, raking light and UV. Furthermore, the painting was examined with the naked eye and under the stereomicroscope. In addition, a checklist was used to document the condition of the painting for restoration. Structurally, the wax resin lining had kept the painting in good condition, although there were many aesthetic issues with the painting. After examining and documenting the condition of the painting, a treatment proposal was written and accepted. During the actual restoration, various types of retouchings from previous restorations were found. It became difficult to distinguish original paint from over- painted areas and therefore it was necessary to carry out technical research. Multiple imaging and analytical techniques were used, including radiography of the painting overall, IRR imaging of the painting overall and XRF to analyze the pigments used by the artist. A number of cross-sections were taken, embedded in resin, and examined under magnification, Gillis van Tilborch, Family portrait, c. 1665, After treatment, and one was also analyzed using SEM-EDX. Lastly, a fiber The Royal Picture Gallery Mauritshuis Den Haag sample from the original canvas was analyzed using PLM. Also, during the restoration cleaning tests were carried applied immediately and quickly in one or two coats of out to determine the solubility of the varnish and eventu- paint. The floor of Family Portrait is remarkable; research ally it was decided to use ethanol dispersed in Klucel G. revealed the artist painted first a floor with tiles in checker The characteristics of the various types of overpaint were board pattern in black and white and later covered it with determined and they made a distinction from the original a brown paint to imitate a wooden floor. It is believed that paint possible. the artist intentionally let the tile pattern show through At this moment the restoration of the painting is finished the brown paint. In 17th century houses in Brussels it was and the painting is on show at the Prince Willem V Gallery common to paint a checkerboard pattern on a wooden of the MDH. ■ floor. Tiles were not affordable for everybody. The documented restoration history of the painting Acknowledgements starts in 1841. In this year, and again in 1845, the painting P. Noble (MDH), C. Pottasch (MDH), A. van Loon (MDH), E. Buijsen (MDH), Q. Buvelot (MDH), A. van Suchtelen (MDH), E. Gordenker (MDH), D. Anchin was washed and varnished by the Amsterdam restorer (MDH), B. van Schoonhoven (MBvBR), S. van Sprang (Koninklijk Museum Nicholas Hopman. In 1888, William Antonij Hopman, voor Schone Kunsten, Brussel), A. Haack Christensen (Statens Museum for the son of Nicholas Hopman, varnished the painting. In Kunst, Kopenhagen), I. Groeneweg (UL), A. Fày (Szépmûvészeti Múzeum, Boedapest), E. Koldeweij (RCE), H. Dubois (KIK-IRPA) 1891 the painting underwent two treatments: the first by Alois Hauser, Berlin’s famous painting conservator- restorer, who performed a small treatment and the second in that same year by W.A. Hopman who gave the painting a wax resin lining. Finally, in 1993 another small conservation treatment was performed. Obviously, the varnish 76 77 78 79 Decision making on a Royal dressing table A major restoration of an Italian 19th century dressing table of ebonised wood with marble inlay

PD Res thesis 2012 (in Dutch) [Saskia Smulders-de Jong] The restoration of an Italian 19th century dressing table was carried out in the context of the completion of the post initial phase of the UvA programme Conservation and Restoration of Cultural Heritage – Wood & Furniture. This thesis forms the final conservation report of this process. An ebonised and marble inlaid suite of furniture in neo-Florentine renaissance style was purchased in 1874 by king Willem III (1817-1890). This set of furniture became part of the collection of Paleis Het Loo (Apeldoorn, The Netherlands) in 2004. One of the pieces is a dressing table. The construction, veneer, mouldings,

PD Res thesis supervisors S.M. Nijhuis (UvA), C. de Smet (Paleis Het Loo) marble, mirror and finish of this dressing table were severely damaged. Many damaged and loose parts had to be conserved or restored and missing parts had to be complemented. Restoring the palatial character of the object was the intention of this project so it can be displayed in the permanent exhibition in the king’s bedroom. Decision making is inseparable from the profession of conservation therefore the decisions about the treatment of the dressing table ran as a leading thread through this thesis. According to the results of various studies the best possible restoration and reconstruction methods were selected. There was an interdisciplinary collaboration with art historians, scientists, marble specialists and fellow conservator-restorers because of the diversity of existing materials in the object and the nature of the studies. The restoration, in cooperation with the furniture conservator-restorer of Paleis Het Loo, was carried out in four months’ time. In addition to securing all the loose parts, more than hundred missing parts were added, including 24 veneer fragments, 22 pieces of stone and 61 parts of moulding in seventeen different profiles with a total length of twelve meters. Research was performed during this restoration work. The applied marble was identified and historically accurate reconstructions of the missing veneer, mouldings, stone and mirror were made. The manufacture of the dressing table was almost completely revealed and the conjecture about the authenticity of the black finish was strengthened on basis of scientific research. The mutual influence of the choices related to the research and practical work was great. The diversity of components and materials present in the dressing table top Front view console table before restoration. The damage to the mouldings and the marble is clearly visible. bottom Front view console table after restoration. All missing parts such as mouldings and marble have been complemented. made a major contribution to this influence. Therefore, the decision making con- The console table, together with a mirror, forms the dressing table of the Dutch King Willem III, Het Loo Palace cerning this restoration project proved not to be ambiguous. ■ (Dutch: Paleis Het Loo), inv. Number: RL8960-1

Acknowledgements P. Rem (Paleis Het Loo), RCE, R. Klusener (HKA) 78 79 80 81 Royal & heavenly found to possess good wash-fastness properties. In several objects Water Blue IN was found, often in addition to other synthetic dyes. Five different Nineteenth century blue dyes in the dyes were found on the woollen dress, suggesting that the colour result is Rijksmuseum costume collection more economically obtained by mixing dyes rather than having a dye for every possible colour. Surprisingly, even dyes that normally require either an acidic or an alkaline bath were found mixed on one object. One may conclude from this that neutral baths were used to bind these dyes to the ■

MA thesis 2010 (in Dutch) ■ [Joni Steinmann] Six 19th century costumes of the RMA collection were fibres. It would appear that synthetic dyes such as Picric acid and Indigo analysed to establish if a correlation exists between the early synthetic carmine, and even natural dyes such as Cochineal, were still being used in blue dyes used and the condition of the objects. This project was limited in the late 19th century, even though alternative synthetic dyes with better scope to objects created between 1857-1876, the period in which most early colourfastness characteristics were already on the market. ■ synthetic acid and basic dyes were discovered. Samples were taken from six objects: three silken gowns, one woollen Acknowledgements gown, one doll with a silk dress and a batiste blouse with light blue ribbon. M. van Bommel (RCE), M. de Keijzer (RCE), H. Neevel (RCE)

MA thesis supervisors R. Lugtigheid (UvA), B. van Velzen (UvA), S. Meijer (RMA) In addition, samples were taken from three other objects for use as comparative material. In this study, several analytical methods were employed. HPLC revealed that several early synthetic dyes had been used, including Water Blue IN, Fuchsine, Mauve, Indigo Carmine and Picric acid. However, six of the in Van Gogh’s cobalt blue total eighteen samples contained a colorant undetectable by the HPLC. Inorganic pigments like Prussian blue give no response when tested with Research into the possible causes for trace HPLC, so this was assumed to be a possible explanation. In order to conclu elements found by means of SEM-EDX in two sively prove the presence of Prussian blue, a Prussian blue Indication Test was performed, in addition to analysis with SEM-EDX and FTIR. All six distinct variants of cobalt aluminate used by samples did indeed contain Prussian blue. Vincent Van Gogh 1886 -1890 The costumes were further investigated, making use of a condition assessment form which was developed for this purpose. With the form, it was possible to look systematically at and describe the damage of each of and technique in 2013 ¹ Amsterdam as a part of larger exhibition catalogue about the artist’s materials (UvA), M. Geldof (RCE) ■ ■

the costumes. If any damage had occurred as a result of synthetic dye use, MA thesis 2011 (in English) ■ [Lise Steyn] SEM-EDX analyses of dozens of cross-sections of Van Gogh’s fading, discoloration or bleeding of the dyes was expected to be found – but paintings revealed that he used two distinct variants of cobalt blue between surprisingly, all costumes were found to be in remarkably good condition. 1886 and his death in 1890. Samples of his Parisian period (1886-1888) To determine if storage conditions had favourably affected their state of contained a comparatively high Ni / Co ratio, whereas this ratio is much preservation, microfading was performed on two of the objects: one Prussian lower in samples from his post-Parisian period (1888-1890). Also, Parisian blue dress, and the woollen dress with synthetic dyes. The Prussian blue and post-Parisian samples showed differences in other trace elements. This research has been published by the Van Gogh Museum dress faded rapidly during light-fastness testing, and afterward the tested Investigation of Van Gogh’s letters showed steady orders from Parisian

area of 0.5 mm diameter had faded visibly, whereas the woollen dress seemed MA thesis supervisors M.J.N. Stols-Witlox colour merchant Tasset et l’Hote (via his brother Theo in Paris) during imperceptibly affected by the fading test. However, a week later, the faded his post-Parisian period. Van Gogh’s paint orders were chronologically spots on the Prussian blue silk dress had disappeared. This regeneration tabulated and compared to SEM-EDX results for this research. It was possi- behaviour of Prussian blue has previously been noted in paintings, and the ble to establish that the variant predominantly seen in the Parisian period textile results imply that this behaviour also occurs in textiles dyed with could be attributed to one colour merchant, Julien Tanguy, and the vari- Prussian blue. ant in the post-Parisian period to Tasset et l’Hote. Further comparison It seems remarkable and defying expectations that several of the samples, of paint samples from other artists who had been known to use either of dating from 1857-1876, were found to contain Prussian blue. Also the these colour merchants have supported these findings. observation that the costumes are in relatively good condition taking into account their their 150 years of age, may possibly be due to the use of ¹ Steyn, Lise & Muriel Geldof. “Van Gogh’s cobalt blue” in Van Gogh Studio Practice. June 2013. Prussian blue. Prussian blue is an inorganic compound and it has been Jansen, Leo, Muriel Geldof, Ralph Haswell, Ella Hendriks, Sjaar van Heugten (eds.) Van Gogh Museum Amsterdam: Mecatorfonds. 80 81 82 83 Because both cobalt blues show differences in traces of other elements, Chinese porcelain 19th century recipes and production processes of the pigment were investigated, as well as the metallurgical processes to extract cobalt and and the art of bonding aluminium from ores. From the results it appeared that the nickel content A research on the darkening of the samples can be related to the different origins of the ores that were used for the production of the pigments. ■ of bonded fractures

Acknowledgements Rijksdienst voor het Cultureel Erfgoed, Van Gogh Museum Amsterdam, Shell Nederland,

K. Mensch (Shell Technology Centre Amsterdam), E. Hendriks (VGMA), K. Pilz (VGMA), L. Megens N.H. Tennent (UvA), I. de Pree-Dommisse (UvA) ■

(RCE), M. de Keijzer (RCE), C. Pienaar (Harmony mine, South Africa) [Marijke Top] Ceramics conservator-restorers sometimes experience MA thesis 2011 (in Dutch) ■ that after bonding freshly broken porcelain a darkening of the bond occurs. Naturally one wishes that bonds are not too visible, or at least not disturbing. A cause for the darkening has not yet been determined. The goal of this thesis was to gain more clarity about the possible cause(s) of the darkening of bonded porcelain fractures, and to avoid it at future L. Steyn with Portrait restorations. The initial hypothesis was that darkening is caused by a of Marchello Malpighi, Amsterdam Museum difference in refractive index of the adhesive (an epoxy resin) and the MA thesis supervisors K. van Lookeren Campagne (UvA), porcelain glaze. For glass restoration it has already been determined that a matching refractive index can lead to an (almost) invisible join. To limit the amount of data, the research focused on Chinese porcelain. Also, because the darkening seems to happen relatively often with this type of porcelain. Tests have been performed to establish the composition of Chinese porcelain bodies and glazes, because these aspects determine the visual characteristics of the porcelain. Apart from that, several bonding tests have been performed on Chinese porcelain dating from the 17th to the 19th centuries. Objects on which a darkening appeared were studied with a stereomicroscope and a scanning electron microscope. Early on it could be determined that a mismatch in refractive index (between adhesive and glaze) was not the cause of the darkening. Also other hypotheses, like migration of the adhesive into the body or under the glaze, could be disproven, considering the very low porosity of the porcelain body and the fusion of the body and the glaze. An alternative explanation was found as the darkening of bonds seems to be caused by a remaining amount of space between the two bonded fragments. Sherds that seem to fit correctly, as judged by the naked eye, can be slightly separated at the microscopic level. Research has shown that when the space is 20 μm (or less) the fracture is nearly invisible, while a space of 35 μm leads to a clearly visible darkening. The observation that at the micro level porcelain fragments do not fit perfectly is probably caused by a slight deformation of the porcelain on breaking. Adding a white pigment to the epoxy resin can lead to a reduction of the visibility of the fracture. Future research should reveal the optimal amount of pigment that is needed to make the bond less visible. ■

Acknowledgements L. Megens (RCE) 82 83 84 85 Restoration work on a commode

PD Res thesis 2012 (in Dutch) [Tamara Sigrid Venema] During the two year postgraduate phase of the Conservation and Restoration of Cultural Heritage programme at the UvA, a project has been carried out concerning the conservation and restoration of a commode that is owned by the furniture conservation studio Hoving & Klusener. At the start of the project the commode was in a poor state. The substrate and veneer were severely distorted, especially on the left-hand side of the object. Also, poor fillings from previous restorations were visible and the finish of the commode was covered with

PD Res supervisors S.M. Nijhuis (UvA), J. Hoving (HKA), R. Klusener (HKA) dirt. Interestingly, this finish seemed to be an old and uniform layer. The aged finish and discolored wood were considered to be patina, and it was decided to preserve them. Obviously, this limited the options to treat the veneer and substrate. As the left-hand side of the commode was the most damaged, it was decided to focus on the conservation of this side of the commode. Before deciding about the treatment the finish was analyzed. Spot tests used to identify the composition of the finish were not successful and also optical techniques (UV light, microscopy) were inconclusive. The Hirox 3D microscope only showed the finish to be a compact film. Subsequently, at the RCE several analytical techniques (e.g SEM-EDX) were attempted but all the resins used to embed the samples, Polypol (Polyservice PS 230) and Technovit (2000 LC), turned out to affect the finish on the sample. Also, a gold coating on the sample did not protect the sample from the effect of the resin. Eventually, pyrolysis GC-MS revealed that the finish consists of beeswax and colophony (10:1) and a small amount of oil. After the analysis of the finish, the animal glue, the veneer and substrate were examined and their properties determined the possible methods to treat the veneer on the left-hand side of the commode. It was decided to lift the veneer, to remodel it partly and to adhere it on the substrate. Various options to lift the veneer safely were tested. The method that was selected in the end was to lift the veneer with ethanol in blotting paper and a spatula. The substrate was treated to increase the strength of the construction. The veneer was flattened with moist and pressure. After this the veneer was adhered on the substrate with a mix of bone and hide glue (1:1). At the end of the project, the conservation of the left-hand side of the commode was finished. ■

Acknowledgements Removing veneer with a spatula. The animal glue underneath the veneer is J. van Iperen (RMA), K. Keune (RCE), M. de Keijzer (RCE), J. Pedroso (RMA), I. Joosten (RCE), J. van crystallized with alcohol and absorbed in blotting paper. After a 3 to 4 minutes der Sangen (IC), A. Wallert (RMA), H. van Keulen (RCE), G. Tauber (RMA) the glue bond can be broken with a spatula 84 85 86 87 The investigation of the use of ion chromatography for identification of early stages of glass sickness The Ince Blundell composite marble statue of a man with an ivy wreath ‘Marcus Aurelius’: revisited / restored ■ ■

A paper about this work is in preparation MA thesis, 2012 (in English) ■ [Guus Verhaar] Glass sickness is a form of glass degradation that is well known in the world of glass conservation. The symptoms of the process are sweating (or weeping) glass and crizzling. Much has been written A full paper about this work has been accepted for publication ² M. Cooper (National Museums Liverpool UK), L. Biçaçi (UvA) ■

on the advanced stages of glass sickness and its conservation, but very [Nicolas Verhulst] In the 18th century Henry Blundell PD Res thesis 2012 (in English) little is known about the early stages. In particular, signs of the early bought an antique over-life-sized statue of ‘Marcus stages of glass sickness are difficult to pinpoint visually, as two recent Aurelius’ to add to his collection at Ince Blundell Hall, cases point out. north of Liverpool. His private collection of antique During an intensive monitoring of the glass collection of the RMA, it had sculpture became the second largest in the United King- MA thesis supervisor N.H. Tennent (UvA) been observed that glasses in different stages in the deterioration process dom, after the Townley collection (British Museum). and from different origins eventually showed similar degradation patterns. As a ‘composite’ sculpture, ‘Marcus Aurelius’ exemplifies Also, for some objects it was not clear whether they actually suffered the tradition of 18th century restoration ethics. During

from glass sickness or if the surfaces were contaminated. At the same the condition report the sculpture was divided into three PD Res supervisors L. Barnden (National Museums Liverpool UK), time, independently, conservator-restorers at the MBvBR encountered different zones: the plinth with the feet were separated the same problems. Both museums developed a categorization of the from the main body and a third zone existed of 58 pieces. observed surface appearance, but often struggled to categorize objects The treatment proposal focused on a series of complex definitively, as degradation symptoms were not clear. issues. A range of pins and clamps needed to be removed In order to get a better, clear-cut indication of the early stages of glass from lead and 18th century resin. After cleaning the

sickness, the use of ion chromatography ( ion c.) has been investigated. surface (removal of dirt), the disturbing staining of the Details of this research has been published elsewhere ¹ The cations that leach out of a glass are mostly sodium, potassium and white Carrara marble by old resin needed to be tempered calcium ions and these ions fall precisely in the range of ions that can be or removed. Considering different cleaning methods, a analyzed using ion c. at a parts per million detection level. Therefore, surface-acting impregnating gel worked by dissolving ion c. is well suited to detect leached-out ions at glass surface deposits, 4% agar in deionised water. Grey dirt layers and sulpha- the initial, almost invisible, stage of glass sickness. tion could be removed with a Nd:YAG laser. To reinstate After setting up the ion c. system at the RCE laboratories, sampling the structural integrity of the statue a ‘piston fit pin sleeve’ and extraction experiments were carried out that eventually led to an armature was devised, besides the use of common pins. extraction protocol that yields reproducible results. This enables an easier disassembly in the future, as the Furthermore, a few surface samples have been taken from museum stainless steel pins slide into stainless steel sleeves that are objects and analyzed, demonstrating the potential of this technique. fixed inside the holes with a bulked epoxy. For choosing Complementary results from XRF and SEM-EDX analyses showed that the correct colour of the filler seven adhesives with seven degradation products can be linked to the composition of a glass. ■ fillers were tested. This ‘colourfill chart’ worked as a reference and each recipe could be adjusted by adding Acknowledgements more or less fillers when searching for the desired M. van Bommel (RCE), A.N. Proaño Gaibor (RCE), L. Megens (RCE), I. Joosten (RCE), B. Lamain (RMA), Museum Boijmans van Beuningen Rotterdam, F. Burghout (MBvBR), C. van Hees (MBvBR), B. Schoonhoven (MBvBR), A.A. de Tagle (RCE), L. Gibson (University of Strathclyde Glasgow UK) ¹ http://www.arch.columbia.edu/files/gsapp/imceshared/lld2117/StoneConf- 11-Wednesday-Poster-Presentations.pdf, pp. 205-206. ² Verhulst, N. and L. Barnden, “The Ince Blundel compostite marble statue of a man with an ivy wreath – ‘Marcus Aurelius’: revisited /restored”, 12th International Congress on the Deterioration and Conservation of Stone, 22 October – 26 October 2012 at Colombia University in New York, 2013, to be published. 86 87 88 89 Marcus Aurelius (Ince 569) The originality of a transparent National Museums Liverpool (left), Nicolas Verhulst, 2012 (right) coating on a cabinet from the Jachthuis Sint Hubertus ■ ■

Details of this research will be published elsewhere MA thesis 2012 (in Dutch) ■ [Boudewien Westra] Furniture that are presented for conservation- restoration nowadays seldom have their original coating. As a result, a lot of furniture has lost its original appearance. Knowledge of original coatings helps to determine the original appearance of these objects and can also have an impact on future restorations. Research of transparent coatings of Dutch furniture made between 1600-1940 is a tripartite project of the RMA, the RCE and the UvA. Within

MA thesis supervisors S.M. Nijhuis (UvA), P. van Duin (RMA) this project, a study has been carried out of transparent coatings on furniture in the Jachthuis Sint Hubertus, located in the ‘Nationale Park de Hoge Veluwe’ ( The Netherlands). The Jachthuis, where the Kröller- Müller family lived, was built between 1916 and 1920. It was modeled after the work of the architect H.P. Berlage (1856-1934) and can be described as ‘Gesamtkunstwerk’. One of the pieces of furniture in the living-room, a cabinet of teak and coromandel that has been made by the prominent company H.P. Mutters & Zoon between 1920-1924, has been analyzed in detail. Visual analyses (UV, day-light) revealed a smoothly applied coating, which advocates a possible original coating. GC-MS analysis revealed a properties. Eventually, after applying two coatings of a surprizing composition of the coating, consisting of linseed oil, shellac 10% Paraloid B72 in acetone barrier layer, the ‘colourfill’, and colophony. This led to an analysis of sources from the beginning based on ‘HXTAL NYL-1’ epoxy, ‘Fumed Silica’ and alabaster of the 20th century containing information on and recipes of varnishes. powder was applied. Finally a protective coating of Finally, the coating of the cabinet has been put into a broader context microcrystalline wax was applied to protect the surface by technical research done on the coating of two comparable pieces of from surface dirt ingression in the future. ■ furniture. Both were finished in the same way as the cabinet. Based on the research that has been carried out, it was concluded that Acknowledgements the coating of the cabinet in the living-room of the Jachthuis is original. ■ A La Pensée (National Museums Liverpool UK, NML), B. Sillitoe (NML), D. Whitty (NML), G. Musket (NML), D. Carty (IC), J. Podany ( J. Paul Getty Museum Los Angeles USA), Norman Weiss Education Fund Student Acknowledgements Scholarship, The Netherland-America Foundation, B. Wei (RCE) H. van Keulen (RCE), R. Kievits (RCE), Kröller-Müller Museum (KMM), S. Glerum, J. Pedroso (RMA), B. Mühren (KMM), M. van der Sande (KMM), I. Breebaart (RMA), J. van Scherpenzeel

H.P. Berlage / H.P. Mutters & Zoon, Cabinet, Jachthuis Sint Hubertus,1900 -1924, 178,5 ×199 × 44 cm

88 89 90

Transformator transforms Thomas Hirschhorn, Transformator, 1997. Guiding changes in an artwork by 3,5 × 3,5 ×1,5 m Thomas Hirschhorn voor Actuele Kunst, S.M.A.K., Ghent, Belgium)

PD Res thesis 2012 (in Dutch) [Karolien Withofs] An internship in the conservation studio at the S.M.A.K., Ghent, Belgium, was part of the two year postgraduate phase of the education programme for conservation and restoration at the UvA. The internship consisted of the conservation-restoration of the artwork Transformator (1997), made by the Swiss artist Thomas Hirschorn. The artwork is made of used objects and industrially produced, non- durable materials. It consists of four piled tables covered with blue garbage bags, which are fixed with brown packaging tape. On each table lies a big

PD Res supervisors L. Beerkens (SRAL), M. Verboven (Stedelijk Museum rock made of aluminium foil and a drawing or a collage. On the upper table a video shows the written text Etre en haut c’est etre en haut with no sound. Next to the tables four big teardrops hang on the wall. They are made of aluminium foil, painted in red and blue. All components of the artwork are interconnected with strings of squeezed aluminium foil. In the first years of its existence Transformator has been exhibited frequently until its condition deteriorated resulting in no further exhibitions. The artwork remained in the depot of S.M.A.K. for ten years. During this postgraduate project the material condition of Transformator and its components was mapped. The aluminium foil has suffered mechanical damage which translates in damages in the paint layer on top of it. The paint itself is brittle and could not follow the movements of the aluminium foil, resulting in loose paint and paint loss. The teardrops were so fragile, they could not be hung on the wall anymore. The garbage bags had tears and scratches and the degraded packaging tape could not fix the bags to the tables anymore. added materials will be removable. The plasma pen, still in development at As a result, the bags hung loosely around the table tops. the University of Bern, will hopefully be available as a tool for conservators The implications of this condition for the meaning of the artwork, as to give this adhesion problem an appropriate and durable solution. well as Hirschhorns views on the conservation and the lifetime of his Transformator will benefit greatly from a good storage system. The works have been considered and a conservation strategy has been defined. components should be protected from damaging mechanical forces and Components that have been industrially produced and not modified by from light which is the main cause of chemical degradation of these the artist, like the packaging tape, can be replaced by new material if they materials. The long-term preservation of the video-component poses some are degraded badly. Letting the degraded material be part of the artwork questions still, mainly because CRT monitors will become obsolete. The contradicts the meaning of the material in the work, as a universally known exhibition of the artwork, programmed in the near future, is a good cause and ever available material. for contacting the artist and establishing a long-term preservation plan for Components that have been created by the artist are irreplaceable. For the video-component. ■ these components a conservation treatment has been defined. A supporting hanging system for the tears has been developed. The paint on aluminium Acknowledgements foil has been consolidated and lacunae have been retouched. Consolidation Stedelijk Museum voor Actuele Kunst (S.M.A.K., Ghent, Belgium), S. Saverwyns (KIK-IRPA), W. Fremout (KIK-IRPA) and retouching of the paint on the PP packaging tape has been done as well. However, future adhesion problems are to be expected because the apolar PP surface is not appropriate for good adhesion. When that time comes, the 90 91 92 93 Looking for Colijn de Coter: technique, decay or restoration? W. de Ridder (RMA) ■

PD Res thesis 2012 (in Dutch) [Nienke Woltman] In this thesis the treatment and research of The Lamentation of Christ are reported. The painting is attributed to Colijn de Coter and dated between 1510 and 1515. It belongs to the collection of the RMA since 1875. The painting will be exhibited in the newly renovated RMA. In preparation of this, restoration of the painting was carried out.

A paper about this work is in preparation The title of this thesis addresses the premise and at the same time the ethical guideline of the conservation-restoration. The goal of this restoration was to bring the painting back as close as possible to its original state.

PD Res supervisors K. Seymour (UvA, SRAL), G. Tauber (RMA), To discover the original appearance of the painting research was carried out. The underlying origin of several phenomena found during restoration was investigated. Hereby the following classification was made: are the found phenomena caused by something that is inherent to the technique Colijn de Coter. of the artist, by the deterioration of the materials or by a later restoration? The Lamentation of Christ. It is important to make a distinction between these causes, because this After restoration. Daylight influences the choice of treatment. Art historical information about the artist and the painting have been documented, with attention to the oeuvre of de Coter and the position Two phenomena were investigated in depth. Firstly, SEM-EDX and XRF- of The Lamentation in this oeuvre. Little is known of Colijn de Coter, analyses were carried out to investigate several small holes in the yellow and only three signed paintings of him are known. The Lamentation is and orange paint layers of the headdress of Mary Magdalene. Secondly, not signed but is generally accepted as a painting by the master. In the UV fluorescence has revealed the presence of a layer in several areas. archives of the RKD information was found about an existing other version From a GC-MS analysis it could be concluded that this layer was probably of this painting, owned by a private collector. The whereabouts of this applied in a previous restoration. As the layer is hardly visible in daylight, painting was traced and it was brought to the studio, where it was and could not be removed without damaging the original paint, it was subjected to a thorough investigation. If further research of this painting decided to leave it untouched. proves that it was made around the same time and in the same studio, The results of technical analyses and research of the other existing much new information about the studio practice of Colijn de Coter can version of The Lamentation helped to determine the original appearance be gleaned. of the RMA painting. The distinction between technique, decay and The buildup of the different layers and the properties of the original restoration proved to be useful in the quest of Colijn de Coter and helped materials have been addressed in order to find out how the artist actually in determining the choice of treatment. Furthermore for the treatment made the painting. Knowledge of the used materials helps in assessing the of the RMA painting, the panel from Leersum proved to be of great help condition of the painting and thereby influences the choice of treatment. as well. ■ On the basis of SEM-EDX and XRF analyses on The Lamentation several characteristics were established that may have been common practice in Acknowledgements the studio of de Coter. Rijksmuseum Amsterdam, M. Ubl (RMA), A. Wallert (RMA), J. van Iperen (RMA), K. Keune (RCE), M. Leeflang (Museum Catharijnen Convent Utrecht), S. Laemers (RKD), mr. Stratenus, G. van Gerven The overall condition of the painting is fair. The varnish has yellowed (RMA), C. van Wijk (RMA), B. Stabik (SRAL), J. van Och (SRAL), I. van Rooy (Bonnefanten Museum and in several areas previously applied discolored overpaint was found. Maastricht; BMM), C. Zijlstra (BMM), L. Hendrikman (BMM), M. Zeldenrust (RMA), H. van Keulen Underneath these over-painted areas, old filling material and damaged (RCE), A. Vandivere (UvA, RMA) original paint were discovered. During a previous restoration the painting has probably been over-cleaned, and as a result the paint is abraded. 92 93 94 95 Alphabetical list of organizations Alphabetical list of abbreviations of and companies which are mentioned organizations and companies which are in the abstracts mentioned in the abstracts

■ Amsterdam Museum ( AM ) ■ Paleis Het Loo AM Amsterdam Museum ■ Artemis UK ■ Premsela en Hamburger Amsterdam BC Bijzondere Collecties UvA BTC Blue Tortoise Conservation London UK ■ Blue Tortoise Conservation London UK ( BTC ) ■ Radboud Universiteit Nijmegen FHM Frans Hals Museum ■ Bonnefanten Museum Maastricht ■ Restauratie Atelier Amsterdam ( RAA ) HKA Hoving & Klusener V.O.F Amsterdam ■ Bureau voor Bouwhistorie en Architectuur ■ Rice University, Houston, Texas USA ICN Instituut Collectie Nederland (nowadays: RCE ) geschiedenis Utrecht ■ Rijksdienst voor het Cultureel Erfgoed KIK- IRPA Koninklijk Instituut voor het Kunstpatrimonium Brussels ■ Bijzondere Collecties UvA ( BC ) ( RCE, formerly ICN ) MBvBR Museum Boijmans van Beuningen Rotterdam ■ Brenntag Nederland / Lumilux ■ Rijksgebouwendienst Den Haag ( Rgd ) MDH Mauritshuis Den Haag ■ Rijksbureau voor Kunsthistorische Documentatie MVP Magister Varnish Products Hollandse Rading ■ CICRP Marseille Den Haag ( RKD ) RAA Restauratie Atelier Amsterdam ■ Cornell University, Ithaca, New York USA ■ Rijksmuseum Amsterdam ( RMA ) RCE Rijksdienst voor het Cultureel Erfgoed (formerly ICN ) ■ Rijksmuseum Twenthe ( RMT ) Rgd Rijksgebouwendienst Den Haag ■ Fablab Amsterdam RKD Rijksbureau voor Kunsthistorische Documentatie Den Haag ■ Fablab Maastricht ■ School of Conservation Copenhagen Denmark RMA Rijksmuseum Amsterdam ■ Flentrop Orgelbouw ■ Shell Nederland RMT Rijksmuseum Twenthe ■ Frans Hals Museum ( FHM ) ■ Shell Research Laboratories Amsterdam SMA Stedelijk Museum Amsterdam ■ Shell Technology Centre Amsterdam SRAL Stichting Restauratie Atelier Limburg ■ Harmony mine South Africa ■ Sint Pietershof Hoorn UL Universiteit Leiden ■ Hout- en Meubileringscollege Amsterdam ■ Stadsarchief Amsterdam UT Universiteit Twente ■ Hoving & Klusener V.O.F Amsterdam ( HKA ) ■ Statens Museum for Kunst Copenhagen Denmark UvA Universiteit van Amsterdam ■ Stedelijk Museum Amsterdam ( SMA ) VGMA Van Gogh Museum Amsterdam ■ Instituut Collectie Nederland ( ICN, nowadays: RCE ) ■ Stedelijk Museum Schiedam WMD Winterthur Museum, Winterthur, Delaware USA ■ Stedelijk Museum voor Actuele Kunst ( S.M.A.K.) ■ J. Paul Getty Museum Los Angeles USA Ghent Belgium ■ Stichting de Fundatie van de Vrijvrouwe van ■ Kasteel Duivenvoorde Renswoude ■ Koninklijke Bibliotheek Den Haag ■ Stichting Restauratie Atelier Limburg ( SRAL ) Abbreviations of analytical techniques ■ Koninklijk Instituut voor het Kunstpatrimonium ■ Stichting Westerkerk Enkhuizen Brussels ( KIK- IRPA ) ■ Struisvogelboerderij Monnikenwerve Sluis ■ Koninklijk Museum voor Schone Kunsten Brussel ■ Szépmûvészeti Múzeum Boedapest Hungary FTIR Fourier -Transform Infrared Spectroscopy ■ Kröller-Müller Museum Otterlo HPLC High Performance Liquid Chromatography ■ Kunsthistorisches Museum Wien Austria ■ Teylers Museum Haarlem IRR Infrared Reflectography ■ The Netherland-America Foundation GC-MS Gas Chromatography-Mass Spectrometry ■ LOPD, Grafische oplossingen voor de Archeologie PLM Polarized Light Microscopy ■ Universitaire Bibliotheken Leiden SEM Scanning Electron Microscopy ■ Magister Varnish Products Hollandse Rading ( MVP ) ■ Universiteit Leiden ( UL ) SEM-EDS Scanning Electron Microscopy with energy dispersive X-ray spectroscopy ■ Mauritshuis Den Haag ( MDH ) ■ Universiteit Twente ( UT ) SEM-EDX Scanning Electron Microscopy with energy dispersive X-ray spectroscopy ■ Monumentenzorg Hoorn ■ University of Arizona, Tucson, Arizona USA UV Ultraviolet ■ Motivaction BV Amsterdam ■ University of Delaware USA XRF X-ray Fluorescence ■ Museum Boijmans van Beuningen Rotterdam ■ University of Strathclyde Glasgow UK ( MBvBR ) ■ Universiteit van Amsterdam ( UvA ) ■ Museum Catharijnen Convent Utrecht ■ Museum Rotterdam ■ Van Gogh Museum Amsterdam ( VGMA ) ■ Museum van Loon Amsterdam ■ Vereniging Hendrick de Keyser Other abbreviations

■ National Museums Liverpool UK ■ Whitechapel Bell Foundry London UK ■ NCB Naturalis Leiden ■ Winterthur Museum, Winterthur, Delaware USA IC Independent conservator-restorer ■ Nemoto Europe BV ( WMD) C&R Conservation and restoration of cultural heritage ■ Norman Weiss Education Fund Student Scholarship rio restaurator in opleiding (conservator-restorer in training) PI Post-Initial (= post-master part of the programme at the UvA) ICOM International Council of Museums 94 95 96 97 Team C&R Professors, lecturers and management

96 97 98 99 Professors

Prof. dr. Norman Tennent Prof. dr. Jørgen Wadum Professor of conservation science Professor in conservation and restoration; [email protected] chair of the section [email protected]

1 Research 1 Glass crizzling. Natural and accelerated 1 The recording and dating of 17th 3 Director of CATS – Centre for Art 2 Publications aging of epoxy resins. century marks on Flemish and Dutch Technological Studies and Conservation, 3 Other activities Laser ablation-inductively coupled plasma- panel marks. Copenhagen, a collaborative research ven- mass spectrometry. An investigation into painting techniques ture between Statens Museum for Kunst Computer match pigment selection for seen in the context of ageing and conser- (SMK), the National Museum of Denmark retouching zinc hydroxychloride mortar. vation treatment with an emphasis on (NMD) and the School of Conservation 2 “Multi-element quantification of the long term effect of the keeping of the (SoC) at the Royal Danish Academy of ancient / historic glass using laser ablation- objects seen in relationship to current and Fine Arts, Schools of Architecture, Design inductively coupled plasma /mass spectro future reception. An interdisciplinary and Conservation. metry using sum normalization calibra- research between conservator-restorers, Co-chair of the Advisory Group to tion”, Elteren, Johannes T. van, Norman conservation scientist and curators. The Getty Panel Paintings Initiative, H. Tennent and Vid S. Šelih, Analytica 2 Wadum, J., N. Streeton, “History and Los Angeles, USA. Chimica Acta 644 (2009) pp. 1-9. use of panels or other rigid supports for “Polymer conservation treatments for easel paintings”, in Stoner J.H. & R.A. stained glass in the Burrell Collection, Rushfield (eds.): Conservation of Easel Glasgow: an assessment of 25 years of Paintings – Routledge Series in Conserva- natural aging”, Tennent, Norman H., tion and Museology (2012) pp. 49-114. In: ICOM-CC 16th Triennial Conference Wadum, J., M. Scharff, “Tracing the indivi Lisbon 19-23 September 2011: preprints dual ‘handwriting’ of four 16th century [cd-rom]. Bridgland, Janet (Editor). artists through their underdrawings”, ICOM Committee for Conservation in Hermens, E. (ed.): On the Trail of Bosch (Corporate Author). Critério-Produção and Bruegel – Four Paintings United Grafica, Lda. (2011). under Cross-examination. CATS Series of 3 Member of UK Heritage Science Technical Studies. Archetype Publications Advisory Panel. in collaboration with CATS / SMK (2012) Visiting Honorary Professor, University pp. 59-77. of Glasgow. 98 99 100 101 Lecturers Book and paper

Elizabet Nijhoff Asser Jos Schrijen Bas van Velzen [email protected] [email protected] [email protected]

1 Research in 19th century anatomical 1 Making an English-language thesaurus 1 PhD-research (ongoing): ‘Rendement models of paper-mâché made by Docteur for describing bindings. This project is led par bac’; developing a simple procedure Auzoux. by N. Pickwoad, Ligatus Research Centre, for the analysis of paper. 2 Watteeuw, L, E. Nijhoff Asser, L. CCW Graduate School, University of the 2 Co-author of Schalkx, Hilde et al. Tubeeckx, S. Hulpiau, E. Gabriëls: “Stof Arts, London. “Aqueous treatment of water-sensitive tot nadenken”, condition survey of the 2 Lem C. en J. Schrijen: “Het gebruik van paper objects”. Journal of Paper Conser bookcollection of the Library of the zeemleren beschermruggen op boeken met vation, vol. 12, nº 1 (2011): pp. 11-20. University of Ghent, 2009. houten platkernen in de Maurits Sabbe 3 Author and /or editor of “Instructables” Nijhoff Asser, E., & B. Reissland, e.a. : bibliotheek in Leuven”, in: Knapen L. en 4 × per year in IADA Journal of Paper “Lost fingers, scurfy skin and corroding L. Kenis (ed.): Hout in boeken, houten Conservation. veins – conservation of anatomical papier- boeken en de fraaie konst van houtdraayen. mâché models by Dr Auzoux”, 15th Uitgeverij Peeters, 2008. Triennial Conference of ICOM-CC, New Delhi, Preprints Vol. 1, 2008, pp. 285-292. 3 RNA (Restoration Nijhoff Asser), conservator-restorer of paper, parchment and leather. Vice-chair of the Belgium-Netherlands Society of Bookbindings.

100 101 102 103 Lecturers Contemporary art

Ellen Jansen ( MA | PD Res ) Evelyne Snijders Drs. Sanneke Stigter [email protected] [email protected] [email protected]

1 Research into the properties and 2 “The treatment of a polyurethane rigid 1 PhD-research (ongoing): Between degradation processes of phosphorescent foam floor piece by Ger van Elk: a study Concept and Material: The conservator’s pigments. in the conservation of plastics” In: ICOM-CC role in photograph based and conceptual Research into the possibility of retouching 16th Triennial Conference Lisbon 19-23 works of art: Ger van Elk, Joseph Kosuth, gaps in phosphorescent paint. September 2011: preprints [cd-rom]. Jan Dibbets, as part of the interdisciplinary 2 Jansen, Ellen: “Survival of the Survival Bridgland, Janet (Editor). ICOM Commit- NWO funded research program New Series. Conserveringsstrategieën voor tee for Conservation (Corporate Author). Strategies in the Conservation of Con- een lichtkrant met een intern geheugen”, Critério-Produção Grafica, Lda. (2011). temporary Art initiated by Maastricht Simulacrum, jaargang 20, nr. 2, mei 2012. 3 Independent conservator-restorer of University and RCE. Extensive case description of Selections contemporary art. Member of NeCCAR, Network for the from the Survival Series (1983) by Jenny Conservation of Contemporary Art Holzer (Kröller-Müller Museum, Otterlo) Research, a three year NWO-funded inter- in the framework of the Obsolete Equip- national research network. ment project for the site of Dutch Media 2 Beerkens, L., P. ‘t Hoen, IJ. Hummelen, Art Institute (no link available). V. van Saaze, T. Scholte & S. Stigter (Eds.), 3 Independent conservator-restorer “The artist interview: for conservation of Contemporary Art. and presentation of contemporary art: Teacher and Coordinator workshop guidelines and practice,” Heijningen: Conservation and Restoration of New JAP SAM Books 2012. Media for the training Preservation and Stigter, S., “How material is conceptual Presentation of the Moving Image (UvA art? From certificate to materialization: Master’s program, January 2013). installation practices of Joseph Kosuth’s Glass (one and three)’’, in: Scholte, T. & G. Wharton (Eds.), Inside installations: theory and practice in the care of complex artworks, Amsterdam: Amsterdam University Press, 2011, pp. 69-80. 3 SBMK steering committee member – Foundation for the Conservation of Contemporary Art. Founding member of INCCA Education. 102 103 104 105 Lecturers Glass, ceramics and stone

Lisya Biçaçi Daan Blits Kate van Lookeren Campagne BA [email protected] [email protected] [email protected]

1 Research (ongoing): Glass appliqué a 1 Research to tile tableau of housing 1 PhD-reserach (ongoing): The techno multifaceted challenge. Conservation and corporation De Key, Amsterdam Museum. logy of Dutch tin glazed tiles produced restoration of architectural glass from the 3 Independent conservator-restorer and between 1580 and 1800 and its influence post-war period to the present. guide in museums. on glaze deterioration. 3 Symposium ‘Care and Conservation of 2 “17th century Dutch Tiles in the outdoor sculptures’ Castles Amerongen Tropics: the importance of state and trait and Heeswijk in collaboration with on deterioration processes” ICOM-CC Artesis and the UvA on March 21, 2013. triennial meeting ceramic and glass group, Coordinator ‘Itinerant Course on Stone SPA uitgevers, Amsterdam, 2013 (in press). Conservation (III)’– (3/31/2013 - 7/6/2013). “A Comparative View of Academic Training Programmes in Ceramic and Glass Conservation”, ICOM-CC, triennial meeting ceramic and glass group, Grafika Soca, Nova Gorica, Slovenia 2007. 3 Coordinator local organizing-committee ICOM-CC C&G working group, triennial conference Amsterdam 2013. Assistant coordinator ICOM-CC Ceramic and Glass Working Group (education). Consulent Collectiewacht Gelderland. Restauratieatelier van Lookeren Campagne.

104 105 106 107 Lecturers Lecturers Historic interiors Metal

Drs. Daniëlle van Kempen Dr. ir. Mariël Polman Tonny Beentjes Janine van Reekum MA [email protected] [email protected] [email protected] [email protected]

1 Research to 19th and 20th century 1 Van Doesburg-Rinsemahuis Drachten 1 PhD-research (ongoing): Rodin’s 1 The history and appearance of metal decorated leather. 2 Nelissen, S. and M. Polman (2012): “The Thinker”: the development and ornaments applied on the exterior of the 2 Kempen, D. van, “Materiaal met een “Duikers’ Open Air School: Re-Use or implementation of new conservation Royal Palace in Amsterdam (not public). rijk verleden; restauratie van goudleer”. Contin-Use” Docomomo International, strategies and the investigation of bronze 2 A rather old publication but due to the Cr. 3 (2006), pp. 19-22. Global Design. Journal 47, 2012/2. Barce- casting technology. recent find of the Staffordshire Hoard of Kempen, D. van, E. Koldeweij. “Dilemmas lona, 2012, pp. 34-42. 2 “An innovative treatment of a severely current interest: Nijboer A.J., & J.E. van and solutions on the conservation treat- Polman, M. and M. de Keijzer (2010) damaged bronze, the Thinker by Rodin”, Reekum, 1999: “Scientific analysis of the ments of three gilt leather rooms in The “Duiker’s colours “ in: Sanatorium Zonne Lasers in the Conservation of Artworks gold disc-on-bow brooch”, in: Besteman, Netherlands”. ICOM-CC; 14th Triennial straal, history and restoration of a modern (LACONA IX), Saunders, David, Matija Strlic, J.C., J.M. Bos, D.A. Gerrets, H.A. Meeting The Hague 12-16 September movement. Meurs, Paul, Marie-Thérèse Capucine Korenberg, Naomi Luxford, Heidinga & J. de Koning (eds.) The Exca- 2005, pp. 263-270. van Thoor (eds.) NAi Publishers. Rotter- Karen Birkhölzer (eds), Archetype vations at Wijnaldum; Reports on Frisia in dam, Zonnestraal estate bv, (R)MIT Faculty Publications in association with the British Roman and Medieval times, A.A. Balkema of Architecture TU Delft, pp. 201-205. Museum, London, 2013, with co-author Rotterdam / Brookfield, pp. 203-215. 3 Specialist architectural paint research Rozemarijn Van der Molen. pp. 146-153. Laeven, Thijs en Janine van Reekum, 2008: Cultural Heritage Agency of The Nether- “Sixteenth Century Life-casting “Beroeps- en Competentieprofielen”, lands. Techniques, a reconstruction”, in The Restauratoren Nederland, Den Haag. Renaissance Workshop: The Materials and 3 Independent metal conservator-restorer Techniques of Renaissance Art, Saunders, and advisor. D., M. Spring, and A. Meek, (eds) (forthcoming 2013), Archetype Publications in association with the British Museum, London, forthcoming, with co-author Pamela H. Smith.

106 107 108 109 Lecturers Paintings

Drs. Vera Blok Drs. Emilie Froment Kate Seymour MA Drs. Maartje Stols-Witlox [email protected] [email protected] [email protected] [email protected]

1 Mondrian in the Stedelijk Museum 1 PhD-research (ongoing): Consequences 1 FP7-EU IMAT (ENV-NMP.2011.2.2-5) 1 PhD-research (ongoing): ‘A perfect Amsterdam: Research and conservation of wax-resin lining for the conservation [2011-2014]: Intelligent Mobile Multipur- ground’ Historical recipes for preparatory of five early abstract paintings. and restoration of 17th century Dutch pose Accurate Thermo-Electrical (IMAT) layers for oil paintings in North West 2 Blok, Vera: “Mondrian in the Stedelijk paintings on canvas. Mild Heating Device for Conservation Europe 1550-1900. A critical analysis and Museum Amsterdam: Research and con- 2 Froment, E., M. van Eikema Hommes, of Cultural Heritage Assets. recipe reconstructions. servation of five early abstract paintings”. “The darkness of the nocturnal conspiracy Materials and methods of paste lining 2 Stols-Witlox, M., (2011). “Historical In Zeitschrift für Kunsttechnologie und of Claudius Civilis by Govert Flinck for the reinforcement of canvas paintings: restoration recipes: the cleaning of paintings Konservierung, 25, 2011, heft 2. and Jürgen Ovens (1659-1662) in the documentation, functionality and conser- 1600-1900”. In: ICOM-CC 16th Triennial 3 Freelance conservator-restorer at Royal Palace Amsterdam”, In: ICOM-CC vation (liningp) (2011-2014) – proyecto Conference Lisbon 19-23 September 2011: Cobra Museum voor Moderne Kunst 16th Triennial Conference Lisbon 19-23 4166836-HAR2011-24217 (Spain). preprints [cd-rom]. Bridgland, Janet (Edi- Amstelveen. September 2011: preprints [cd-rom]. 2 Seymour, Kate, “Teaching adhesive tor). ICOM Committee for Conservation Freelance conservator-restorer at ceiling Bridgland, Janet (Editor). ICOM Commit- principles to conservation students: sine (Corporate Author). Critério-Produção paintings in the Trippenhuis Amsterdam. tee for Conservation (Corporate Author). scientia ars nihil est – without knowledge Grafica, Lda. (2011). Critério-Produção Grafica, Lda. (2011). skill is nothing”. In Book. Adhesives and Stols-Witlox, M. (2012). “Grounds for easel Eikema Hommes, M. van, E. Froment, Consolidants in Painting Conservation: painting, 1400-1900” in: Hill Stoner, Joyce, “The decoration programme in the proceedings of the international conference Rushfield, Rebecca (eds.) Conservation galleries of the Royal Palace Amsterdam: held at the National Portrait Gallery, of Easel Paintings, London, Amsterdam: a harmonious interaction between painting, London, 6 May 2011. Routledge. architecture and light?”, in catalogue of Fife, G.R., J. van Och, B. Stabik, N. Miede- 3 Member core research team: Science 4 the exhibition ‘Opstand als Opdracht’, ma, K. Seymour, R. Hoppenbrouwers: “A Arts Project “PAinT: Alterations in Time”. Stichting Royal Palace Amsterdam, package deal: the development of tissue gel Stols-Witlox schilderijenrestauratie. July 2011, pp. 34-53. composite cleaning at SRAL”. In: ICOM-CC 16th Triennial Conference Lisbon 19-23 September 2011: preprints [cd-rom]. Bridgland, J., (Editor). ICOM Committee for Conservation (Corporate Author). Critério-Produção Grafica, Lda. (2011). 3 Head of Education, SRAL. ICOM-CC Sculpture, Polychromy and Architectural Decoration working group coordinator. 108 109 110 111 Lecturers Lecturers Textiles Wood and furniture

Drs. René Lugtigheid Ir. Sylvia Nijhuis Herman den Otter [email protected] [email protected] [email protected]

1 PhD research (ongoing): Catholic 1 Frames and their restoration, the frame 1 PhD-research (ongoing): André-Jacob liturgical textiles in The Netherlands: past, as an independent work of art, 2009. Roubo. L’art du menuisier. present and future. An investigation into Tripartite research into original transparant 2 Otter, Herman den: “De Nederlandse the causes of change. The research aims coatings (or varnished) on furniture in The meubelmakerij 1600-1940”. Amsterdam, to provide a basis for the cultural value Netherlands between 1600-1940. Partner- 2011. assessment of this specific heritage. ship between RMA, RCE and UvA. Herman den Otter: “De houten etspers in 2 All that glisters is not gold, the 2 Nijhuis, Sylvia: “Gelatine en dierlijke het Rembrandthuis.” in: Kroniek van het Appreciation of religious textiles in The lijmen. Het belang van de fysische eigen- Rembrandthuis. 2009. Netherlands and the formulation of schappen.” Cr 4, 2006. selection criteria for retention or disposal, 3 Nijhuis Houtrestauratie, independent In: ICOM-CC 16th Triennial Conference enterprise for the purpose of conservation Lisbon 19-23 September 2011: preprints and restoration of wooden and gilded [cd-rom]. Bridgland, Janet (Editor). ICOM objects. Committee for Conservation (Corporate Regularly employed as a restorer at RCE. Author). Critério-Produção Grafica, Lda. (2011) docs/1806_254_LUGTIGHEID_ ICOM-CC_2011.pdf. 2011: “A tale of two tapestries: Considera- tions of restoration, de-restoration, and re-restoration” in M.M. Brooks and D.D. Eastop: Changing views of textile conservation, the Getty Conservation Institute, Los Angeles, pp. 284-289. 3 Member of the Committee of Research Complaints Restauratoren Nederland. Member Group Paramentica (http://paramentica.wordpress.com).

110 111 112 113 Other lecturers

Dr. Marjolijn Bol Drs. René Hoppenbrouwers Dr. René Peschar Drs. Ink de Pree-Dommisse MA Technical art history Paintings conservation-restoration; Science Consultant (esp. chemistry) Art History, specialism the history [email protected] preventive conservation [email protected] of ceramics [email protected] [email protected]

1 The Impact of Oil: A history of oil 1 Safety in church buildings. 1 Research (ongoing): Famille Noire painting in the Low Countries and its 2 Hoppenbrouwers, R., J. van der Horst, porcelain: stylistic and technical analysis. consequences for the visual arts, 1350-1550 C. van Gestel, A. Vugts, “All hazards Fakes and forgeries in ceramics. (NWO-project Utrecht University, Univer- approach: safety and accessibility for 2 Pree, Ink de, “Onder de loep genomen: sity of Amsterdam and the Rijksmuseum). religious heritage in the Province of Kopieën van de Franse fabriek Samson”. Crafting Splendor and Examining Light. Limburg”, In: ICOM-CC 16th Triennial In: Vormen uit Vuur 184/185, pp. 76-83; The Artisan’s Contribution to the Study of Conference Lisbon 19-23 September 2011: no. 5/2003. Optics, 1100-1700 (Max Planck Institute preprints [cd-rom]. Bridgland, Janet (Edi- Pree, Ink de, “Tussen traditie en indivi- for the History of Science Berlin). tor). ICOM Committee for Conservation duele expressie: vijftien generaties Raku 2 Bol, Marjolijn, “Oil and the Translu- (Corporate Author). Critério-Produção pottenbakkers” in: Vormen uit Vuur 163, cent”. Varnishing and glazing in practice, Grafica, Lda. (2011). pp. 34-42; no. 1/1998. recipes and historiography, 1100-1600, Fife, Gwendoline R., Jos van Och, Bascha 3 Independent editor on the subject PhD Utrecht University 2012, 283 p. Stabik, Nada Miedema, Kate Seymour, and of ceramics. Bol, Marjolijn and Ann-Sophie Lehmann, René Hoppenbrouwers, “A package deal: Advisor to the Board of the Dutch “Painting Skin and Water. Towards a Mate- the development of tissue gel composite Ceramics and Glass Society. rial Iconography of Translucent Motifs cleaning at SRAL, In: ICOM-CC 16th Triennial Member of the Oriental Ceramic Society. in Early Netherlandish Painting,” in: Wat- Conference Lisbon 19-23 September 2011: teeuw, Lieve and Lorne Campbell (eds.), preprints [cd-rom]. Bridgland, Janet (Edi- Colloquium Rogier van der Weyden in tor). ICOM Committee for Conservation context, 22-24 October 2009, Le dessin (Corporate Author). Critério-Produção sous-jacent dans la peinture. Grafica, Lda. (2011). 3 Researcher at Max Planck Institute for 3 Director SRAL. the History of Science, Berlin. iCOM-CC Working Group Education and Training in Conservation, assistant working group coordinator. European Network for Conservation- Restoration Education (ENCoRE), vice-chair. 112 113 114 115 Management

Drs. Angèle Goossens Drs. Suzanne Maarschalkerweerd Coordinator continuing education Programme-manager [email protected] [email protected] History of Art student UvA (part-time)

Rosa Hoogenboom Drs. Inge Tinbergen Secretary continuing education Programme-coordinator [email protected] [email protected] History of Art student UvA

Hanna de Lange Secretary [email protected] History student UvA (part-time) 114 115 116 117 Alumni Overview alumni

116 117 118 119 Frederike Burghout* [email protected] ■ Discipline Glass, ceramics and stone ■ MA thesis title Koude beschildering op delfts witgoed plastieken; een onderzoek naar samenstelling, vervaardiging, degradatie en conservering. **This alumnus received his / her AMarya Albrecht BRoosmarijn van Beemen ■ Year of MA graduation 2013 DMelissa Daugherty FNadine Faber Master’s degree after completing [email protected] [email protected] ■ Current activities Freelance [email protected] [email protected] the course in Conservation and ■ Discipline Paintings ■ MA the- ■ Discipline Glass, ceramics and conservator-restorer glass, ■ Discipline Paintings ■ MA ■ Discipline Paintings ■ MA Restoration at the (former) ICN. sis title Klein maar fijn. Loodwit stone ■ MA thesis title Lijm ceramics and stone; coordinator thesis title Dilemma’s in de thesis title ‘De mens’ terug in His / her qualifications are in fijne deeltjesgrootte. ■ Year of methoden in de restauratie van depots at Stichting tot beheer restauratie; handreiking voor restauratie. Het belang van equivalent to graduates that have MA graduation 2012 ■ Current gipsen afgietsels van antieke Museum Boijmans van Beuningen de restauratie van schilderijen kennis over visuele perceptie completed the UvA PI program. activities rio (UvA) beelden. ■ Year of MA gradua- met latere toevoegingen die en onderzoeksmethoden uit de tion 2011 ■ Current activities bijdragen aan de identificatie van psychologie voor restauratoren. See pages 7 and 8 for more Stephanie Avril rio (UvA) de geportretteerden. ■ Year of ■ Year of MA graduation 2010 information about MA and PI. [email protected] MA graduation 2011 ■ Current ■ Current activities Visual artist ■ Discipline Paintings ■ MA Sophie de Behault activities rio (UvA) thesis title De Heilige Agnes. Een ■ Year of MA graduation 2012 schilderij met pressbrokat uit de Tamar Davidowitz Noordelijke Nederlanden. ■ Year Sanne van [email protected] of MA graduation 2011 ■ Current Bergenhenegouwen ■ Discipline Metal ■ MA thesis activities rio (UvA) svbergenhenegouwen@gmail. title Painted silver; the use of com colour on the Merkel table piece. ■ Discipline Book and paper ■ Year of MA graduation 2010 ■ MA thesis title De constructie ■ PI thesis title The Diana en conservering van beweegbare Automaton in the Collection boeken; een case-study van de of the Rijksmuseum Amsterdam. Meggendorfer-Collectie, Bijzon- Year of PI graduation 2012 dere Collecties Amsterdam. ■ Current activities Junior metal ■ Year of MA graduation 2012 conservator-restorer at Rijks ■ Current activities rio (UvA) museum Amsterdam

Nienke Besijn Hannie Diependaal [email protected] [email protected] ■ Discipline Glass, ceramics and ■ Discipline Paintings ■ MA stone ■ MA thesis title Een lichtje thesis title De schilderkist van laten schijnen over UV-lijmen. Breitner en de kleuren van Een onderzoek naar het gebruik Standage. ■ Year of MA gradu- en veroudering van vier UV-lijmen ation 2011 ■ Current activities voor toepassing binnen de glas rio (UvA) restauratie. ■ Year of MA graduation 2011 ■ Current activities rio (UvA)

Julia van den Burg [email protected] ■ Discipline Paintings ■ MA thesis title The hand of a Master; technical research into the paintings of Jacob Backer (1608 / 09 -1651). ■ Year of MA graduation 2011 ■ Current activities rio (UvA)

118 119 120 121 Tess Graafland [email protected] ■ Discipline Wood and furniture ■ MA thesis title Originele ver gulding op negentiende-eeuwse pâtelijsten. Onderzoek naar historische verguldtechnieken. ■ Year of MA graduation 2012 GJudith Geerts ■ Current activities rio (UvA) HJeroen van Halder IZuhura Iddi JEllen Jansen KOleg Karuvits [email protected] [email protected] [email protected] [email protected] [email protected] ■ Discipline Book and paper Lousco Grasman ■ Discipline Metal ■ MA thesis ■ Discipline Paintings ■ MA ■ Discipline Contemporary art ■ Discipline Paintings ■ MA thesis ■ MA thesis title Lichtschade [email protected] title Organisch malmateriaal in thesis title Droge reiniging; het ■ MA thesis title Survival of the title Verkleuring als gevolg van aan gekleurd werk op papier; ■ Discipline Paintings ■ MA cire perdue mallen. Verkenning effect van zes soorten residuen Survival Series. Conserverings het schilderen op ongegrondeerd onderzoek naar een gedifferen thesis title Schitterende illusie; naar de praktijk in de Italiaanse op ongeverniste olieverflagen. strategieën voor lichtkranten met doek en washarsbedoeking; naar tieerd schadebeeld. ■ Year of de weergave van metalen in de Renaissance. ■ Year of MA gradu- ■ Year of MA graduation 2013 een intern geheugen. ■ Year of aanleiding van ‘De nachtelijke MA graduation 2010 ■ Current zeventiende-eeuwse Hollandse ation 2012 ■ Current activities MA graduation 2010 ■ PI thesis samenzwering van Claudius Civilis activities rio (UvA) schilderkunst ■ Year of MA rio (UvA) title Go with the Glow. Behande in het Schakerbos’ van Govaert graduation 2008 ■ PI thesis title lingsmogelijkheden voor een Flinck and Jurgen Ovens. ■ Year Auke Gerrits Een materiële toeschrijving aan Jessica Hensel kunstwerk met een fosforesceren of MA graduation 2008 ■ PI [email protected] Pieter Fontijn (1774 -1839); onder- [email protected] de verflaag. Year of PI gradu- thesis title Schildertechniek van ■ Discipline Wood and furniture zoek naar en restauratie van twee ■ Discipline Historic interiors ■ ation 2012 ■ Current activities Philips Wouwerman (1619 -1668). ■ MA thesis title Een onderzoek portretten op doek. Year of MA thesis title De toxiciteit van Lecturer Contemporary art (UvA Year of PI graduation 2010 naar kastsloten uit de 18e eeuw. PI graduation 2010 ■ Current het pigment orpiment in histo C&R); independent conservator- ■ Current activities Independent ■ Year of MA graduation 2011 activities Independent private rische interieurs. ■ Year of MA restorer of contemporary art conservator-restorer of paintings; ■ Current activities rio (UvA) conservator-restorer, working in graduation 2013 ■ Current activi- conservator-restorer at the a shared workshop in Haarlem ties Internship at RCE and RMO Thijs Janssen Mauritshuis Sophie Glerum [email protected] [email protected] Jonathan Gration Annemieke Heuft ■ Discipline Wood and furniture Rachelle Keller ■ Discipline Wood and furniture [email protected] [email protected] ■ MA thesis title Reconstructie [email protected] ■ MA thesis title Afwerklagen ■ Discipline Historic interiors ■ Discipline Historic interiors van robbellijsten met behulp van ■ Discipline Book and paper ■ op meubelen 1800 -1900; ■ MA thesis title Oriëntaals Hees ■ MA thesis title Koolteer voor de moderne technieken. Een onder MA thesis title Vergipsing; een reconstructies van negentiende- wijk; bestudering & reconstructie schilder; een materiaalhistorische zoek naar 3D scannen, CNC-frezen bijzondere schade bij perka eeuwse afwerklagen op basis van van een lakwerk interieur. ■ Year studie van een 19e-eeuwse kool en 3D printen. ■ Year of MA menten boekbanden. ■ Year of onderzoek naar contemporaine of MA graduation 2011 ■ Current teerverf op de orgelkas in de graduation 2012 ■ Current activi- MA graduation 2011 ■ Current bronnen. ■ Year of MA gradua- activities J. Gration Historische Westerkerk in Enkhuizen. ■ Year ties rio (UvA) activities rio (UvA) tion 2011 ■ Current activities Interieurs, - research, restoration of MA graduation 2011 ■ Current rio (UvA) and advice activities rio (UvA) Diederik Kits Nieuwenkamp [email protected] Dave van Gompel* Sophie van Gulik Corina den Hollander ■ Discipline Wood and furniture [email protected] [email protected] ■ Year of MA graduation 2009 ■ MA thesis title De aanvulling ■ Discipline Wood and furniture ■ Discipline Historic interiors van lacunes in een transparante ■ MA thesis title Restaureren met ■ MA thesis title Lodewijk Marjolein Homan Free afwerklaag met verouderingstex stickers; het gebruik van transfer Napoleon op de Dam; de ver [email protected] tuur op een houten ondergrond: stickers in de meubelrestauratie. bouwing van stadhuis tot paleis ■ Discipline Textiles ■ MA thesis een buiten het object gevormde ■ Year of MA graduation 2010 en het onderzoek naar deze title Het gebruik van Vanish aanvulling met textuur. ■ Year of ■ Current activities Freelance verdwenen periode. ■ Year of Oxi Action Intelligence plus op MA graduation 2011 ■ Current conservator-restorer MA graduation 2008 ■ Current historisch textiel. Onderzoek naar activities rio (UvA) activities Employee at Lyppens de schadelijke werking van een Cornelia Görlich juwelier, Veilinggebouw de huishoudmiddel voor het reinigen Roos Kliphuis ■ Year of MA graduation 2011 Zwaan and Kramer Kunst en van historisch textiel. ■ Year of [email protected] Antiek MA graduation 2010 ■ Current ■ Discipline Book and paper activities rio (UvA) ■ MA thesis title De collectie Carel Visser; een onderzoek naar foxing op Japanse stijl papier. ■ Year of MA graduation 2012 ■ Current activities rio (UvA)

120 121 122 123 Femke van der Knaap Minette Kuijf [email protected] [email protected] ■ Discipline Paintings ■ MA the- ■ Discipline Historic interiors sis title Luitsen Kuiper, de praktijk ■ MA thesis title Giovanni de van een restaurator. ■ Year of MA Groot & zijn muurschilderingen graduation 2011 ■ Current activi- in het voormalige Amsterdamse ties rio (UvA) stadhuis op de Dam. ■ Year of MA graduation 2008 ■ Current Marjolein Koek activities Freelance conservator- LSuzanne van Leeuwen MMarije Meddeler NAlexandra Nederlof OSaskia van Oudheusden [email protected] restorer of painted surfaces [email protected] [email protected] [email protected] [email protected] ■ Discipline Textiles ■ MA thesis ■ Discipline Metal ■ MA thesis ■ Discipline Metal ■ MA thesis ■ Discipline Book and paper ■ Discipline Paintings ■ MA title Behandeling van vergeling title Authentiek, vervalst, title Het etsen van zilver; techno ■ MA thesis title Vetkrijt, waskrijt thesis title De uitvoering van was- in struisvogelveren; onderzoek gerestaureerd of pastiche? Een logie, toepassing en herkenning. of oliekrijt? Welk gekleurd krijt hars bedoekingen door Johannes naar de oorzaak van vergeling onderzoek naar twee Renais- ■ Year of MA graduation 2011 heeft Vincent van Gogh in zijn Albertus Hesterman (1848 -1916) en mogelijke reiniging van sance juwelen uit de collectie ■ Current activities rio (UvA) tekeningen gebruikt? Een onder- en zonen. Een onderzoek naar struisvogelveren als onderdeel Mannheimer in het Rijksmuseum zoek naar gekleurd krijt met een hun werkwijze en materialen. van een kostuum. ■ Year of MA Amsterdam. ■ Year of MA gradu- Anna-Katrien Mol bindmiddel van was, olie of vet in ■ Year of MA graduation 2011 graduation 2012 ■ Current activi- ation 2012 ■ Current activities [email protected] de periode 1850 -1910. ■ Year of ■ Current activities rio (UvA) ties rio (UvA) rio (UvA) ■ Discipline Metal ■ MA thesis MA graduation 2011 ■ Current title Archeologisch Roest; een activities rio (UvA) Jorinde Koenen Julia Leunge onderzoek naar de mogelijke [email protected] [email protected] effecten van de opslag van ■ Discipline Paintings ■ MA thesis ■ Discipline Metal ■ MA thesis archeologisch ijzer tijdens en title In de wolken met Willen title Acetylacetone; onderzoek direct na archeologische veld- Beurs? Een onderzoek naar de naar de reiniging van messing op werkzaamheden. ■ Year of MA waarde van ‘De groote waereld in meubelen. ■ Year of MA gradu- graduation 2012 ■ Current activi- ‘t kleen geschildert […]’ (1692) van ation 2012 ■ Current activities ties Archaeological researcher; Willem Beurs als kunsttechnolo- rio (UvA) employee at Museum Het Schip gische bron. ■ Year of MA graduation 2011 ■ Current activities Stefanie Litjens Rozemarijn van der Molen* rio (UvA) ■ Year of MA graduation 2010 rozemarijn.vandermolen@tate. Year of PI graduation 2012 org.uk Laura Koster ■ Discipline Metal ■ MA thesis [email protected] title Droogijsstralen, dé ■ Discipline Wood and furniture reinigingstechniek voor metalen? ■ MA thesis title Onderzoek naar ■ Year of MA graduation 2010 de restauratiegeschiedenis van ■ Current activities Assistant de zeventiende-eeuwse Zeeuwse Sculpture conservator-restorer, kast. ■ Year of MA graduation Tate, London 2012 ■ Current activities rio (UvA) Kim Mulder* Helbertijn Krudop [email protected] [email protected] ■ Discipline Book and paper ■ Discipline Wood and furniture ■ MA thesis title Handaanvezelen ■ MA thesis title De rokken op de onderdruktafel met gelicht; een onderzoek naar de toevoeging van bladvormende constructie van Nederlandse acht additieven aan de pulpoplossing. tiende-eeuwse rococo commodes. Het verkrijgen van een gelijk- ■ Year of MA graduation 2011 matige papierlaag met optimale ■ Current activities rio (UvA) vezelverdeling. ■ Year of MA graduation 2012 ■ Current activities Book and Paper conservator- restorer at The British Library, London, United Kingdom

122 123 124 125 Rosan Scheres Hinke Sigmond Joni Steinmann [email protected] [email protected] [email protected] ■ Discipline Historic interiors ■ Discipline Historic interiors ■ Discipline Textiles ■ MA thesis ■ MA thesis title De verborgen ■ MA thesis title Sprekend title ‘Majestueus & Hemels’ Cuypers in het Rijksmuseum; een verleden, bron voor de toekomst; Negentiende-eeuwse blauwe Maastrichtse muurschildering in de toepassing van oral history in kleurstoffen in de Rijksmuseum een Amsterdams museum. historische binnenruimten en de kostuumcollectie. Vroege kleur ■ Year of MA graduation 2009 restauratiegeschiedenis van de stoffen in kostuums; onderzoek PArie Pappot* RDaphne Reijs SWillianne van der Sar ■ PI thesis title Een Kamerscherm jaren ’70. ■ Year of MA gradua- naar de staat van textiel in relatie [email protected] [email protected] [email protected] Ontvouwd Year of PI gradu- tion 2011 ■ Current activities tot de kleurstof. ■ Year of MA ■ Discipline Metal ■ MA thesis ■ Discipline Textiles ■ MA thesis ■ Discipline Historic interiors ation 2011 ■ Current activities rio (UvA) graduation 2010 ■ Current activi- title Lokale behandeling van title De oudheid bewaard voor de ■ MA thesis title De marouflage Independent researcher and ties rio (UvA) bronspest; met natriumsesqui toekomst: een onderzoek naar de techniek van Jan Dunselman in conservator-restorer of historic Susan Smelt carbonaatoplossingen. ■ Year of conservering van archeologisch de HH Laurentius en Elisabeth interiors interior design and up- [email protected] Lise Steyn MA graduation 2011 ■ Current textiel. ■ Year of MA graduation Kathedraal in Rotterdam; een holstery; lecturer historic interiors ■ Discipline Paintings ■ MA [email protected] activities Junior metal conser- 2010 ■ PI thesis title Van Frag materiaaltechnisch onderzoek aan at the UvA C&R thesis title Regeneraties uit het ■ Discipline Paintings ■ MA thesis vator-restorer at Rijksmuseum ment tot Vaandel; conservering Het Laatste Avondmaal. ■ Year of verleden bieden geen garantie title Van Gogh’s cobalt blue; Amsterdam van een rederijkersvaandel uit MA graduation 2010 ■ PI thesis Elisa Schöne voor de toekomst. Hoe de wens research into the possible causes 1750. De behandeling van een title The Application of Solvent [email protected] van Max von Pettenkofer voor het for trace elements found by Jean Marieke Poot ernstig gedegradeerd achttiende- Gels in the Conservation of ■ Discipline Contemporary art onveranderd behouden van het means of SEM-EDX in two distinct [email protected] eeuws vaandel met een twee Historic Interiors. Two case studies. ■ MA thesis title Wit-goed-wit. schilderij toch blijkt bij te dragen variants of cobalt aluminate used ■ Discipline Book and paper zijdige beschildering. Year of Year of PI graduation 2012 ■ Een onderzoek naar de mogelijk aan het verval van het schilderij. by Vincent van Gogh 1886 -1890. ■ MA thesis title Lichtschade? PI graduation 2011 ■ Current Current activities Color & Conser heden tot het exposeren van een Het ‘portet van Otto Heurnius’ ■ Year of MA graduation 2011 Een onderzoek naar de rand activities Independent entrepre- vation – Conservator-restorer in bed in Joep van Lieshout’s Mobile [SA 3339] als casus voor de invloed ■ Current activities rio (UvA) verkleuringen op aquarellen uit neur: 2Restore Textielrestauratie private practice, conservation Home for Kröller-Müller. ■ Year van de regeneratiebehandeling de Druckercollectie. ■ Year of of historic interiors, analysis of of MA graduation 2008 ■ PI the- en de washarsbedoeking. ■ Year MA graduation 2010 ■ PI thesis Koosje Ruijgrok painted surfaces, microscopist sis title When soft rock becomes of MA graduation 2010 ■ PI thesis title Een portret met problemen. [email protected] hard rock. De behandeling van title Het onderzoek naar en de De behandeling van Mevr. Tilly ■ Discipline Book and paper Hilde Schalkx* Mein Treuer Wanderstab (1987) restauratie van het 17e - eeuwse Mengelberg-Wubbe: een pastel ■ MA thesis title Het restaureren [email protected] van Evelyne Janssen. Year of Familieportret van Gillis van uit een particuliere collectie. van de Enkhuizer librije; ethiek en ■ Discipline Book and paper PI graduation 2010 ■ Current Tilborgh uit de collectie van het Year of PI graduation 2012 esthetiek binnen een restauratie- ■ MA thesis title Het spoelen activities Freelance / private Koninklijk Kabinet van Schilde ■ Current activities Freelance project. ■ Year of MA gradua- van watergevoelige objecten van conservator-restorer in Utrecht rijen Mauritshuis. Year of PI paper conservator-restorer tion 2009 ■ Current activities papier: capillary unit of blotter graduation 2012 (cum laude) Designer, illustrator wash? ■ Year of MA graduation Merel van Schrojenstein ■ Current activities Working both Martine Posthuma de Boer 2010 ■ Current activities Book Lantman as a freelance paintings conserva- [email protected] and paper conservator-restorer at [email protected] tor-restorer and on contract ■ Discipline Historic interiors Hoogduin Papierrestauratoren in ■ Discipline Historic interiors ■ MA thesis title De verdonkering Delft; involved in projects with a ■ MA thesis title Herkenbaarheid Saskia Smulders - de Jong van goudleer in Nederland. Een more theoretical component, for van houtimitaties uit de periode [email protected] karakterisering van de degradatie example developing a condition 1750 -1800 in de Noordelijke ■ Discipline Wood and furniture verschijnselen in de zilver- en assessment survey for libraries Nederlanden. ■ Year of MA ■ MA thesis title Chemische vernislagen bij twee case-studies: and writing a conservation policy graduation 2010 ■ PI thesis beitsen; een onderzoek naar de Sint Pietershof Hoorn en Wees for the Utrecht Archives title De ideale staat van het lichtechtheid en identificatie huis der Hervormden Schiedam. object. Vier 17e - eeuwse deuren van drie metaalzout-beitsen op ■ Year of MA graduation 2012 in de Hof van Moerkerken te eikenhout. ■ Year of MA gradua- ■ Current activities rio (UvA) Mijnsheerenland. Toepassing tion 2010 ■ PI thesis title Besluit van een methodologie. Year vorming rondom een Koninklijke of PI graduation 2012 ■ Current Toilettafel; een omvangrijke activities Independent conserva- restauratie van een Italiaans meu- tor-restorer of painted interior bel uit de 19de eeuw van gezwart components hout en ingelegd met natuur steen. Year of PI graduation 2012 ■ Current activities Junior furniture conservator-restorer at the Rijksmuseum Amsterdam

124 125 126 127 Lisette Vos Lidwien Wösten [email protected] [email protected] ■ Discipline Paintings ■ MA ■ Discipline Paintings ■ MA thesis title Het retoucheren van thesis title Blotting. Onderzoek ‘zwarte’ verven: een verheldering. naar het gebruik van blotting in De verf en de retouche in 17de- 15de- en 16de-eeuwse schilderijen eeuwse schilderijen van Neder van de Leidse School. ■ Year of landse makelij. ■ Year of MA MA graduation 2010 ■ PI thesis TMarijke Top VTamara Venema graduation 2008 ■ PI thesis title WBoudewien Westra title ‘Gy ziet hier in de zaal by ZAnna Zwagerman [email protected] [email protected] Op jacht naar Dirck Stoop; de [email protected] meenigt’ aan de wanden. Een [email protected] ■ Discipline Glass, ceramics and ■ Discipline Wood and furniture restauratie van twee schilderijen ■ Discipline Wood and furniture onderzoek naar de VOC portret ■ Discipline Historic interiors stone ■ MA thesis title Chinees ■ MA thesis title De boeken en onderzoek naar de schilder ■ MA thesis title Onderzoek naar ten van Pieter van de Werff. ■ MA thesis title Sandstone, porselein en de kunst van het kasten in de bibliotheek van techniek van een 17de-eeuwse de originaliteit van de afwerklaag Year of PI graduation 2012 marble and paint; an investiga- lijmen. Een onderzoek naar de het Rijksmuseum. ■ Year of MA kunstenaar. Year of PI gradua- op de ladekast in het Jachthuis ■ Current activities Internship tion into the history of the walls verdonkering van breuklijnen. graduation 2010 ■ PI thesis title tion 2010 ■ Current activities Sint Hubertus. ■ Year of MA at The Hamilton Kerr Institute, and vaulted ceilings of the main ■ Year of MA graduation 2011 Restauratie aan een commode. On contract at the Rijksmuseum graduation 2012 ■ Current activi- University of Cambridge public spaces in Amsterdam’s ■ Current activities rio (UvA) Year of PI graduation 2012 Amsterdam conservation-restora- ties rio (UvA) former Town Hall, with a side ■ Current activities Conservator- tion department note to Atlas’sprera. ■ Year of MA restorer at Period Furniture Karolien Withofs graduation 2009 ■ PI thesis title Conservation, LLC, New York [email protected] Conservation 4 Access: Conserva ■ Discipline Contemporary art tion for access at Penrhyn Castle, Guus Verhaar ■ MA thesis title Elektrisch aan Wales; visitor impact on the physi- [email protected] gedreven kunstwerken; een kijk cal condition of a 19th century ■ Discipline Free Master ■ MA op praktijk met 2 casestudies van National Trust Property Year thesis title The investigation of Jan van Munster. ■ Year of MA of PI graduation 2011 ■ Current the use of ion chromatography graduation 2010 ■ PI thesis title activities HLF / Icon (Institute of for identification of early stages Transformator en Transformatie. conservation) preventive conser- of glass sickness. ■ Year of MA Het sturen van veranderingen vation intern at de National Trust graduation 2012 ■ Current in een kunstwerk van Thomas for Scotland (NTS) activities Technical analyst at the Hirschhorn. Year of PI gradu- Rijksmuseum Amsterdam ation 2012 ■ Current activities Private conservator-restorer Nicolas Verhulst [email protected] Nienke Woltman ■ Discipline Glass, ceramics and [email protected] stone ■ MA thesis title Onder ■ Discipline Paintings ■ MA the- zoek van oppervlaktelagen op sis title Het geheim van vluchtige Maaskalksteen in de binnenhal oliën. De toevoeging van van het stadhuis te Maastricht. vluchtige oliën aan het olieverf- ■ Year of MA graduation 2010 medium in de zestiende-eeuwse ■ PI thesis title The Ince Blundell schilderpraktijk van de Lage composite marble statue of a Landen. ■ Year of MA graduation man with an ivy wreath – ‘Marcus 2010 ■ PI thesis title Op zoek naar Aurelius’: revisited / restored. Colijn de Coter; techniek, verval Year of PI graduation 2012 of restauratie? Year of PI gradu ■ Current activities Petracon: ation 2012 ■ Current activities condition survey, conservation Junior conservator-restorer and restoration of stone-like paintings at the Rijksmuseum materials and art historical Amsterdam research; coordinator module ‘stone’ at the UvA C&R

126 127 Colophon

Publication Faculty of Humanities, Conservation and restoration of cultural heritage

Compilation and editing Angèle Goossens

Editing summary’s René Peschar

Design Anke Broeren

Photography T. Beentjes [inside cover-1], L. Biçaçi [pp. 6, 9, 19, 22, 26, 98, 101, 102-1, 103, 106, 108-2, 110, 111-2, 112-2, 113, 114-1, 114-2, 114-3, 114-4], D. Blits [p. 104-2], M. Bol [p. 112-2], J. Borstlap [p. 108-1], I. Broersma and L. Wolfers [inside cover-2], D. Brouwer [p. 102-2], J. van den Burg [pp. 36, 82], A.H. Christensen [p. 18], P. Fahrenfort [p. 39], J.A. Glatigny [p. 17], S.A. Glerum [p. 89], J. Govaers [p. 100-1], T. Graafland[p. 44], K. Groeneveld [p. 107-2], A. Heuft [p. 48], E. Jansen [p. 4 / 5], T. Janssen [p. 20 / 21], R. Klein Gotink [p. 111-1], I. Kneepkens [p. 56], L. Kolkena [p. 25], E. Lampe [p. 109-2], S. van Leeuwen [p. 61], K. van Lookeren Campagne [p. 10 / 11], R. Lugtigheid [p. 116 / 117], M. Meddeler [p. 63], A. Nederlof [p. 64], E. Nijhoff Asser [p. 96 / 97], J. Oerlemans [pp. 12, 99], M. Posthuma de Boer [p. 68], RMA [p. 93], M. van Schrojenstein Lantman [p. 72], M. Selten [p. 100-2], K. Seymour [p. 109-1], H. Sigmond [p. 74], S.M.A.K. [p. 91], C. de Smet [p. 9-2], S. Smulders-de Jong [p. 79-1], M. Stols-Witlox [p. 30 / 31], M. Svensson [p. 76], I. Tinbergen [p. 104-1], V. Veenemans [p. 107-1], T.S. Venema [p. 84], N. Verhulst [p. 88], P. Voeten [p. 114-5], E. de Witte [p. 27]

Press Lecturis bv, Eindhoven

Binding Hexspoor bv, Boxtel

Edition 500

With special thanks to all staff members of conservation and restoration of cultural heritage and all alumni who have kindly cooperated.

Copyright for the specific components lies with the authors and the photographers. The copyright over the whole lies with the editor. No parts of this publication may be reproduced and or published by any means, mechanical, photocopy, microfilm, or other without the written permission of both the copyright owner and the editor of the year book.