Evaluation of a Dry Method Using Erasers for Silver–Copper Alloy Tarnish Cleaning and Comparison with Traditional Methods

Giulia, Basilissi; Brini, Annalena; Cagnini, Andrea; Ortolani, Cinzia; Barbone, A. Santagostino

doi:10.1080/01971360.2020.1832396

Cited by 3 publications

(2 citation statements)

References 21 publications

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“…The tests allowed to define and implement a conservation methodology that at the end combined mechanical (dry), aqueous and chemical cleaning, following approaches already used in modern materials [23][24][25][26], photograph [27][28][29] and metal conservation [30][31][32][33]. After carrying out of these tests, it was decided to start the intervention with an overall surface cleaning with soft brushes and a vacuum cleaner.…”

Section: The Conservation and Restoration Workmentioning

confidence: 99%

“…Stopping the reaction and removing traces of oxalic acid on the surface was done with cotton swabs soaked in a solution of ethanol [96 % (V/V]: water in the proportion of 1:3 (V/V). Afterwards, the remaining, persistent corrosion products were mechanically dry-cleaned with a combination of a bamboo stylus, scalpel, fibreglass brush and the vinyl eraser [32]. This procedure also allowed the recovery of some of the original lustre of the metallic coating.…”

Section: The Conservation and Restoration Workmentioning

confidence: 99%

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Decision-making process and restoration work of a photographic-based artwork by Ernesto de Sousa

Roldão,

França de Sá,

Pinto Rodrigues

et al. 2023

Cons. Património

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This paper discusses the conservation challenges posed by the mixed-media photographic artwork, Revolução, Corpo, Tempo (1978) by Ernesto de Sousa, from Museu Nacional de Arte Contemporânea do Chiado, in Portugal. Due to the artwork's poor condition and an exhibition request, a conservation intervention was needed. However, the definition of a conservation plan was challenging because of the complex and singular creative process of Ernesto and the highly deteriorated exhibition mounting. The lack of existing information led to the start of a research study and to the production of new documentation. This paper examines the gathered knowledge on Ernesto de Sousa's work and case study, and his possible position regarding the artwork’s deterioration and evolution over time – fundamental issues for decision-making in conservation. Based on visual observation, archive research, informal interviews, photo-documentation, infrared spectroscopy, and x-ray fluorescence spectroscopy, this paper discusses the challenges, the methodology and the applied treatment.

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Section: The Conservation and Restoration Workmentioning

confidence: 99%

Section: The Conservation and Restoration Workmentioning

confidence: 99%

Decision-making process and restoration work of a photographic-based artwork by Ernesto de Sousa

Roldão,

França de Sá,

Pinto Rodrigues

et al. 2023

Cons. Património

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Multi‐analytical characterisation of Art Déco dinanderie: Single‐point and map analysis of Jean Dunand's metal artworks

Passaretti,

Cuvillier,

Künzi

et al. 2024

J Raman Spectroscopy

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Jean Dunand (1877–1942) was a European artist internationally appreciated at his time for his innovative Art Déco housewares made of hammer‐beaten copper‐based alloys, known as dinanderie. Still uncertain was the nature of the constituting materials; therefore, for the first time, three objects, namely, a bowl, a trinket bowl and a vase, were the target of a multi‐modal work of characterisation. Mobile or benchtop X‐ray fluorescence, Fourier‐transform infrared (FTIR) and Raman spectroscopies were used to adapt the analyses to the shape and size of the artefacts. Elemental analysis verified that the vase consisted of brass Cu70Zn30, whereas the bowl and the trinket bowl were made of nickel silver Cu70Zn19Ni11. The black finishing present on all the artefacts was related to tenorite by Raman spectroscopy, ascribing the patina to an intentional artist's willing and not to spontaneous tarnishing processes. Metal soaps of copper and zinc were documented as degradation products by FTIR spectroscopy. The drawings adorning the vase and the trinket bowl were identified as silver‐based, contrary to what was hypothesised by conservators (i.e., tin‐based) due to conventional Dunand's inlaying technique. Besides single‐point analysis, Raman mapping was performed in‐situ, applying for the first time a Virsa™ Raman Analyser (Renishaw) in the field of cultural heritage. The fibre‐optic‐coupled instrument allowed to comply constantly with the artefacts' geometry thanks to the modular probe and the motorised focus‐tracking stand. The synergic combination of elemental and vibrational analyses resulted successful, providing new and unique information on artist's technique in view of possible restoration interventions.

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Multiscale roughness analysis by microprofilometry based on conoscopic holography: a new tool for treatment monitoring in highly reflective metal artworks

2022

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The analysis of surface roughness in highly reflective metal artworks is challenging and requires contactless devices capable to measure regions with high micrometer accuracy in both depth and lateral directions. We demonstrate optical profilometry based on scanning conoscopic holography for micrometer measurement of silver samples treated with different hand-made cleaning processes. The technique is shown effective in acquiring shiny and smooth metal samples providing high-resolution and high-accurate dataset ($$0.1\,\upmu \hbox {m}$$ 0.1 μ m depth and $$5\,\upmu \hbox {m}$$ 5 μ m lateral resolution) that is a reliable representation of the microsurface structure. From a statistical point of view, the cleaning treatments have the same nature of the low-abrasion, but the underlying mechanical processes are different. This fact suggested a more in-depth study of both the amplitude and the hybrid areal roughness parameters. It is proposed a workflow for a dual integrated multiscale roughness analysis for surface characterization: a scale inspection to detect possible texture non-homogeneity, and a signals separation to outline the most significant texture components. The scale-limited components allowed to discriminate the different surface processes. The results on silver samples demonstrate the potential of multiscale roughness analysis by conoscopic holography as a new tool for treatment monitoring in metal artworks.

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Evaluation of a Dry Method Using Erasers for Silver–Copper Alloy Tarnish Cleaning and Comparison with Traditional Methods

Cited by 3 publications

References 21 publications

Decision-making process and restoration work of a photographic-based artwork by Ernesto de Sousa

Decision-making process and restoration work of a photographic-based artwork by Ernesto de Sousa

Multi‐analytical characterisation of Art Déco dinanderie: Single‐point and map analysis of Jean Dunand's metal artworks

Multiscale roughness analysis by microprofilometry based on conoscopic holography: a new tool for treatment monitoring in highly reflective metal artworks

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