conservation news in...news in conservation no. 28, february 2012 2 completed in the first year....

creation of the Photograph InformationRecord (PIR). Since any single digitalprint process can change in behaviourfrom generation to generation in only afew years, the PIR is an important linkbetween the object and the actualmaterials that produced it.

Digital prints were included in theMellon Workshops starting with Con-temporary Photographic Processes heldin Chicago in 2000. Later, two offeringsof the workshops were dedicated specifi-cally to digital prints: ContemporaryPhotographs: Digital Prints held in bothSan Francisco and New York.

Nora’s willingness to engagecontemporary artists in discussionregarding materials choices, exhibitionand mounting (all related to preservation)as well as the general care of photographsincluding digital prints was also notedby the awards committee.

Again, congratulations to Nora.For more information about the

award see http://www.imaging.org/ist/membership/honors_desc.cfm?AwardCode=HPIP andhttp://www.iiconservation.org/node/15

ConservationNews in

The e-paper of the International Institute for Conservation of Historic and Artistic Works

Congratulations to Nora Kennedy,Sherman Fairchild Conservator of Photo-graphs at the Metropolitan Museum ofArt and the 2011 recipient of the HP

Issue 28, February 2012

Original or Replica?Robin Neely tells us that theuse of replicas in museumsremains a controversialsubject. Find out more onpage 5

The Language ofConservation –Saied Abdul Hamid Hassan,on the creation of anEnglish-Arabic Glossary ofConservation Terms. Readthe full article on page 9

IIC Website – New Look, NewFunctions! Discover all the newfeatures on page 11

HP Image Permanence Award

Nora Kennedy

Image Permanence Award. This award isgiven by the Society for Imaging Scienceand Technology (IS&T) in partnershipwith the International Institute forConservation (IIC) and is sponsored bythe Hewlett-Packard Company.

“Established in 2006, the HP ImagePermanence Award recognizes advancesin colorant and print media materialsthat significantly increase permanence;advances in predictive science thatincrease the validity of permanencepredictions or provide insight intooptimal storage and usage conditions;and/or educational efforts that raiseawareness of the effect of storage andusage conditions on permanence.”

Nora is specifically being recognizedfor her outstanding contributions thatadvance the longevity of photographicand fine art images created via moderndigital methods in the form of her co-leadership with Debra Hess Norris inorganizing the Mellon SponsoredCollaborative Workshops in PhotographConservation, the creation anddistribution of digital sample book fortwo of the workshops and for leading the www.iiconservation.org

IIC January 2012:Layout 1 7/2/12 10:46

News in Conservation No. 28, February 2012 2

completed in the first year. After successful restoration of the

Humayun's Tomb in Delhi, this will bethe second heritage site to be developedby AKTC in India. The Historic CitiesProgramme of AKTC aims at conserva-tion of best of Islamic architecture andtraditions across the world.

The Aga Khan Trust for Culture(AKTC) focuses on the physical, social,cultural and economic revitalisation ofcommunities in the Muslim world.

For more information on this projectand on the work of the Aga Khan Trustfor Culture visit their website at:

http://www.akdn.org/AKTC Source: The Hindu, Times of India

Aga Khan Trustto Restore QutbShahi Tombs inIndiaThe Aga Khan Trust for Culture(AKTC) has offered to finance a projectfor the conservation and landscaperestoration of the Qutb Shahi Tombscomplex. At the time of going to press,the signing of a formal Memorandum ofUnderstanding (MoU) between theAKTC and the State Department ofArchaeology of India was imminent.

The monumental complex is locatednear the ruined city of Golkonda insouth-central India and capital of theancient Kingdom of Golkonda (c. 1364–1512), west of Hyderabad.

Trust Director-general LouisMonreal, Director Cameron Rashti andProjects Director Ritish Nanda visitedthe tombs to conduct a preliminarysurvey and study various aspects of theproposed integrated developmentprogramme, which would to belaunched after obtaining necessaryapprovals from the local government.

The project will include theconservation of the entire area of theroyal necropolis with over 150structures to be restored together withthe seven Qutb Shani tombs known for

News in Conservation is published by TheInternational Institute for Conservation ofHistoric and Artistic Works

3, Birdcage Walk,London, SW1H 3JJ, UKTelephone +44 (0)20 7799 5500Fax +44 (0)20 7799 4961www.iiconservation.orgISSN 1995-2635EditorBarbara [email protected]

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Format DesignWebb & Webb Design Limitedwww.webbandwebb.co.uk

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Deadlines for next issue (April 2012)Editorial: 1 March 2012Advertising: 15 March 2012Disclaimer: Whilst every effort is made to ensureaccuracy, the Newspaper Editor and IIC can accept noresponsibility for the content published in thisnewspaper. The opinions stated in individual articlesbelong to the author(s) and do not necessarily reflectthose of the IIC, its officers or Council. Noresponsibility is assumed by the publisher for anyinjury and/or damage as a result of the application ofany method, product, instructions or ideas in thepublication. Inclusion of a product or treatment inthis publication does not imply endorsement of theproduct or treatment.

© 2011 The International Institute for Conservation ofHistoric and Artistic Works!

their intricate architecture.Although this will be an entirely

privately funded project, the conservationplan will be drawn up in consultationwith the Archaeology Department andreviewed by national and internationalexperts. In a statement released to thepress, Jayesh Ranjan, Secretary of Tourismsaid: “conservation works will beundertaken in a phased manner on alltombs, mosques, water structures andenclosure walls within the complex”.

The project is expected to run for fiveyears with documentation, archivalresearch, high definition surveys,archaeological excavation, andpreparation of detailed work plan to be

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Qutb Shahi Tombs, India



Welcome and happy New Year (of theDragon)!

I am happy to report that the conser-vation community around the world hasbeen as busy as ever, with great newprojects for us to read, and an enthusiasmthat thankfully doesn’t seem to be affectedby the gloom of the financial crisis,which is tightening its grip worldwide.

In response to the changing habits ofInternet navigators, we have been workinghard to deliver a new website withupdated functions, improved accessibilityand some services now available to non-IIC members. By widening access to ourwork, we hope to better fulfill our primarygoal of “promoting the knowledge,methods and working standards neededto protect and preserve historic andartistic works throughout the world”.

Talking of widening our reach, ourFacebook page has reached 7846 fans!

In this issue, Robin Neely talks abouther work following a commission by theMuseum of Fine Art, Boston, to replicatethe 17th century leaded glass windowsfor Brown Pearl Hall.

Following is an article on the creationof a glossary of conservation terms inArabic written by Saied Abdul HamidHassan, and a review of a workshop heldat KIK/IRPA Brussels, reported byRebecca Lumsden.

Enjoy!Barbara Borghese Editor

Roman Temple of MithrasMoves to a new HomeThe Museum of London Archaeologyhas started a project to dismantle thereconstructed Roman Temple ofMithras, currently situated on WalbrookSquare in the heart of the City ofLondon. The temple will be moved to atemporary storage facility ahead of acomplete and more faithfulreconstruction in a nearby site.

The move was necessary as a result ofBloomberg LP, the global business andfinancial information and news leader,acquiring the site to build its new globalheadquarter. Bloomberg was grantedlisted building consent to dismantle theTemple of Mithras. The move will befollowed by restoration of the stone thatwas encased in concrete andreconstruction of the building in apurpose-built and publicly accessibleinterpretation space within Bloomberg’snew headquarters.

The Temple of Mithras, consideredamong the most important Romanarchaeological discoveries in London,was unearthed by chance in 1952 byarchaeologist W.F. Grimes, at that timedirector of the Museum of London.Built around the 3rd century BC, it wasdedicated to Mithras and possibly toseveral deities popular among Romansoldiers. The artifacts recovered duringthe first excavation, were put on display "

News in Brief

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in the Museum of London.The temple foundations are very close

to other important sites in the city ofLondon including the historic LondonStone, the Bank of England and LondonWall.

Source: Museum of London

X-rays Reveal an Unfinished Self-portrait by Rembrandt van RijnOn Friday 2 December 2011 anunknown painting by Rembrandt waspresented at the Rembrandt HouseMuseum, Amsterdam. The small panel,titled ‘Old Man with a Beard’ waspainted by Rembrandt around 1630, atthe end of his time in Leiden. TheRembrandt House obtained the paintingon loan from a private collector.

The research into the painting andthe reasons for the attribution toRembrandt were explained at lengthduring the presentation by Ernst van deWetering (Emeritus Professor of ArtHistory at the University of Amsterdam

Editorial

The Temple of Mithras, London

Old Man with a Beard, by Rembrandt vanRijn

and head of the Rembrandt ResearchProject), Martin Bijl (restorer), Joris Dik(professor at the Delft University ofTechnology) and Koen Janssens(professor at the University of Antwerp).Images of the painting had also beenmade available at the presentation.

Scientific investigations have shownthat there is an unfinished self-portraitby Rembrandt under the paint surface.The self-portrait was revealed when thepainting was scanned at the EuropeanSynchrotron Radiation Facility (ESRF)in Grenoble, France, using a dual energyX-ray imaging technique, and at theBrookhaven National Laboratory (BNL)in New York using Macro-scanning X-Ray Fluorescence spectrometry(MA-XRF). The measurements at BNL



took advantage of a newly-developedfluorescence microprobe system, whichenables large area surfaces to be scannedwith high definition.

XRF technology detects the pigmentsin hidden layers of paint, making itpossible to record over-paintedcompositions photographically. Thisnew technology has previously resultedin spectacular discoveries in paintings byFrancisco Goya and Vincent van Gogh.

From 1 May to 1 July 2012 theRembrandt House Museum is staging aspecial exhibition of research into tenpaintings by Rembrandt and hiscontemporaries using XRF technology.

Source: Brookhaven NationalLaboratory News Press Release

Tomb of Oscar Wilde RestoredRestoration work has been completed

on the tomb of Oscar Wilde, one ofIreland's most celebrated writers. Thetomb is housed in the famous Père-

Lachaise cemetery in Paris and the datechosen for the unveiling coincides withthe 111th anniversary of Wilde's death.

The project was coordinated by hisgrandson Merlin Holland, andsupported by both the French and Irishgovernments. Restoration work has tobe carried out as the monument hadbeen covered by graffiti and mostnotably by lipstick left by fans visitingthe tomb. Conservators working on theproject carefully cleaned the surface anddecided to encase the tombstone in glassto avoid further damage.

Heavy Rain Threatens FamousByzantine Mosaic Heavy rain fallen this autumn in theMediterranean area have caused damageparticularly to the southernmost regionsof Italy including the island of Sicily. Themost important church building in thecity of Monreale has been heavilydamaged and the water is threatening toreach the inside of the building andcausing further damage to the Byzantinemosaics including the famous ChristPantocrator. The sum of !1,3 million(US$1.7 million) has already been setaside for conservation work to thechurch but the project is set to start notearlier than April 2012.

The building of the Cathedral ofMonreale, called Santa Maria la Nova,was begun in 1170 by William II, one ofthe Norman kings in northern Sicily. In1182 the church, dedicated to theAssumption of the Virgin Mary was

elevated to the rank of a metropolitancathedral by Pope Lucius III.

The mosaics adorning the church arethe largest cycle of Byzantine mosaicssurviving in Italy. They were probablyexecuted by skilled Venetian and Arabcraftsmen.

Currently access to the church islimited to some areas with the apse,where the mosaic of Christ Pantocratoris located, remaining closed to thepublic until further notice.

Getty Foundation’s OnlineScholarly Catalogue Initiative The Getty Foundation’s OnlineScholarly Catalogue Initiative (OSCI)challenged a select group of ninemuseums to create an innovative onlinescholarly publication that wouldtransform how museums publishcuratorial and conservation researchabout their permanent collections. TheArt Institute of Chicago is pleased toinvite participants to review the first

stage of its efforts for this excitinginitiative. This stage includes entries ofthe catalogues Monet Paintings andDrawings at the Art Institute of Chicagoand Renoir Paintings and Drawings atthe Art Institute of Chicago.

This preview publication is currentlyin a usability-testing period and onlyfully functions in Chrome and Safaribrowsers. The AIC OSCI Team isextremely interested in receivingfeedback and asks for users’ assistance inmaking the experience of thesecatalogues the best it can be.

The catalogues can be viewed at:Monet Paintings and Drawings at the

Art Institute of Chicagohttp://publications.artic.edu/reader/monet-paintings-and-drawings-art-institute-chicago

Renoir Paintings and Drawings at theArt Institute of Chicago. http://publications.artic.edu/reader/renoir-paintings-and-drawings-art-institute-chicago

There is also a video demonstrationof the Online Scholarly CatalogueReader, which readers might find usefulas an introduction:http://www.artic.edu/aic/resources/resource/1980.

Please share your reactions andcomments at:https://www.surveymonkey.com/s/OnlineCatalogueFeedback or directly by emailing at:[email protected].

Copyright: CC-BY-2.0 Generic

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!Tomb of Oscar Wilde Restored

Mosaic of Christ Pantocrator



"

By Robin Neely

The use of replicas in museumsremains a controversial subject;however, museum period rooms andhouse museums utilise replicas as anecessary tool to interpret the largerstory. Here the Museum of Fine Arts inBoston commissions a conservator torecreate 17th century leaded glasswindows by comparing 17th and 18thcentury windows with historicalliterature. The final result provides bothan accurate replica and scholarship tofurther the preservation of ancienttrades.

A New Addition – Reinterpretation of anExisting Period RoomIn 2010, the Museum of Fine Arts in Boston, USA,opened the spectacular $504 million dollar (£323million) Art of the Americas wing. The new additiontakes a global perspective showcasing art from theAmericas from the Pre-Columbian era through thetwentieth century. The massive wing contains 53 newgalleries and nine period rooms highlighting themuseum’s colonial collection including the c.1704

Brown Pearl Hall. The hall, originally from a Boxford, Massachusetts

home, interprets domestic life in America’s foundingyears and is furnished to illustrate its multi-purposenature. The heavy beams, mortise and tenon joinery,pine wall boards and large fireplace exemplify periodconstruction and craftsmanship used by immigrantbuilders. Initially installed in the museum in the1920’s, the hall is now reinterpreted to display locallymade furniture as well as smaller, imported luxuries.

Dennis Carr, the MFA’s assistant curator ofDecorative Arts and Sculpture, commissioned stained

glass conservator, Robin Neely, to create historicallyaccurate leaded glass window replicas for the hall.Neely approached the project by combining the studyof 17th and 18th century windows with historicalliterature and historian’s writings. An original c.1695window from the collection of Historic New Englandwas used as the primary model from which to base thereplicas. This window originated just 11 miles fromthe Brown Pearl’s location, and like the Hall’s originalwindows is also a casement-style window.Additionally, ten 17th and 18th century windows fromthe MFA, Peabody Essex Museum in Salem,Massachusetts and Historic New England werereferenced.

Comparing Colonial Windows withHistorical Literature Colonial Windows

Diamond-paned glass windows were an importantfeature in a colonial home as glass was a highly prized

Making Museum Replicas: ExpandingProject Goals May Help in Decision Making

! Boston

1695 Perkins Window – The 1695 Perkins window servedas the primary model for the replications. The uniqueglass color described in the historic workman’s guides canbe seen when placed upon a white sheet of paper.



commodity for a variety of reasons: colonial glassmanufacturing was a general failure, the English glassindustry dominated the market, and cripplinglegislation tightly controlled colonial trade. Glass wasso prized that a 1634 publication advised immigrantsto bring carefully packed windows – a preciouscommodity – on their voyage. 1652 court documents

show that window glass was so valuable that afterpirates seized a home in Virginia they stole not onlythe door locks but also the windows.

Historical LiteratureComparing historical literature with the handful of

authentic colonial leaded windows was essential in

confirming that the reference windows were typical oftheir time and suitable as models. Contemporaryworkman’s guides from 1703 (The City and theCountry Purchaser and Builders’ Dictionary) and 1835(Crown Glass Cutter and Glazier’s Manual) itemisedmaterials and gave detailed glass cutting instructions,including the precise sizes and angles of the diamondpanes. Letters from a Boston merchant to his Londonsupplier revealed how a gentleman might orderwindows in 1701, and early New England newspapersadvertisements imparted how windows were sold in18th century Boston.

GlassThe study windows contained two types of glass;

broad and crown, both were extensively discussed inthe historic workmen’s guides. Broad glass was madeby blowing a cylinder, letting it cool, scoring andremoving the ends, slitting the cylinder lengthwise,and then after reheating the cylinder, opening it upand flattening it out with a wooden block to form aflat sheet. Crown glass, more expensive and brilliantthan broad glass, was made with several steps whichresulted in the molten glass being spun platter-like onthe end of the blowpipe. The centrifugal force of thetwirling caused the glass to open out to a flat disc upto four feet in diameter and resulted in distinctivecurved striations in the glass surface.

The color of the antique window glass in relation towhere it was made could also be compared todescriptions found in the Builder’s Dictionary.Speaking of Ratcliff Crown-glass from Ratcliff,England, the color description reads: “This fort ofCrown-glafs is of a light Sky-blew Colour.” Glass fromthe London borough of Lambeth, “tis of a darkerColour then Ratcliff Crown-glafs, inclining fomethingto a Green.” Though project funding did not allowconsulting with a glass historian, the close comparison

Brown Pearl Hall - The clear glass diamond-paned windows were an important and precious feature in a colonial-erahome such as the Brown Pear Hall; shown here reinterpreted for the MFA’s new addition.



between the study windows and the historicalliterature provided an adequate base from which towork.

Research Creates QuestionsThe most frequently asked questions during the

research phase were interrelated: Why were diamondsused? Why are the diamonds similar in size? And whyare the panels lopped off? The answer: efficiency. Thediamond design and sizes were carefully determinedto reduce waste and maximize the cutting of the glasscrowns. A 1724 Builder’s Dictionary stated clearly: “Tocut a case (of glass)… diamond-fashion…this formimproves the glass best, for that there is little loss.”Workmen were instructed to use the same diamondshape and acute angle being 77 Degree 19 Min.

And the question of layout? All of the eleven study

windows had at least one side of their diamondlayouts unevenly cut off, with six of the windowshaving two sides cut unevenly, giving these windowsan odd lopped-off appearance. The first hypothesiswas that the leaded panels were made in large sectionsin England and then cut to fit wooden sashes whenthey arrived in the colonies; however, the consistentlysmooth workmanship along the edges did not belieany rough site cutting. Nor did the historical literaturemention cutting larger leaded panels down to size;instead letters and advertisements repeatedlymentioned receiving the glass and lead as separateparts or as completed leaded panels already set intowooden sash and ready for installation. A 1701request from a Boston property owner to his Londonsupplier for glass cut to specific sizes “…for I purposeto set them in lead” clearly indicates colonialfabrication. Advertisements in the Boston Newsletterfrom 1701–1732 lists the individual materials of“Crates of Glass, Lead, etc. just arrived from NewCastle,” which further underscores final assembly inthe colonies.

Evidence also supports that leaded windowsframed in wooden sash and ready for installation wereshipped from England. Shortly after Banister’s firstletter requesting parts, he changed his mind andordered completed windows: “Pray Sr let the glass beall made and set in the Frames ready to put up. Onemain reason why I would have it sent ready fitted isthat few if any of our workmen know how to do it.”Advertisements in the Boston Newsletter alsosubstantiate that framed windows are being sent over:“Sash Glass, with Lead Lines, Rolls and Pins fitting forthe Same, the Glass being framed ready to put up.”What the historical literature didn’t mention may bethe most telling; that while the workman’s journalswere detailed in the types of glass and lead, the sizeand angles to efficiently cut the glass, and how to "New glass rondel ready for cutting

A new glass rondel sitting next to one of the diamondpaned glass windows in the conservation studio.

package the parts for shipping, they did not mentioncreating larger leaded panels for the purpose ofcutting them down at their destination. The same canbe said of contemporary letters and advertisements;windows were discussed as either coming in parts orcomplete in their wooden sash and ready forinstallation.

In conclusion, the diamond panes in the modelwindows were so consistent in size and shape andagree so well with the historical literature that it seemscertain that the glass was cut by glaziers working tothe specifications outlined. In the end it was surmisedthat the unevenly laid out diamond panels weredictated by the maximum use of the glass when it wascut from the original rondel and then fitted to the sashopening at the expense of a uniform diamond design.



Decision making in Replications:Expanding the Project GoalsThe use of replicas in period rooms and housemuseums must be approached with great caution andwill always be controversial. The curatorial decisionmaking that weighs artificiality with the need to fulfilla larger interpretive vision can only be made on aroom by room, object by object basis. Broadening thereplication process to include historical literature,advertisements, and correspondence, in addition tothe examination and physical replication of ahistorical artifact aids in deepening the project.Expanding the project from the singular goal ofreplication to the three goals of replication,scholarship, and the preservation of ancient trades,may be an aid in determining this tough decision.

BiographyRobin Neely is a stainedglass conservator andconsultant whoconcentrates on complexstained glass conservationprojects for museums andreligious institutions. Herclients include Boston’sMuseum of Fine Arts, MaineState Museum, and theVictoria Mansion Museum.Ms. Neely’s conservationwork was recentlyrecognized when Design New England Magazine namedher one of New England's top 5 Luminaries.

Portland Maine glassblower Ben Coombs creating an artistic goblet. Coombs provided the crown glass for thereplications.

available. Finally, a local Portland, Maine glassbloweragreed to blow the large glass crowns. After the glasscrowns were delivered to the conservation studio,work proceeded following the same cutting andleading steps as the 18th century workman’s journalsoutlined.

!The Fabrication Fabrication by Neely of the replica windows beganfollowing extensive research and historic windowevaluation. The largest challenge was obtaining thecrown glass. Dozens of calls to curators andglassblowers determined that no ready sources were



By Saied Abdul Hamid Hassan

In 2007 and through 2010, theAmerican Research Center in Egypt(ARCE) started the “Luxor East BankDewatering Response Project”, fundedby the United States Agency forInternational Development(USAID). We established and ran thefirst full time professional field schoolin Egypt, for Egyptian conservators andtechnicians who work for the SupremeCouncil of Antiquities (SCA) in Luxor.

This programme involves an eight-month per yeartraining course, running September through April forthree seasons in total, predominantly in archaeologicalarchitectural stone conservation. The programme wasa response to the USAID sponsored dewateringsystems installed around and in Karnak and Luxortemples in 2005-2007.

The aim of the training program is to teach SCAconservation personnel to be able to handle their ownconservation needs in order to be less dependent onforeign support. To that end, the students areextensively trained in modern requirements of

conservation, especially documentation, whichwas essentially non-existent in their practice.

Students are taught to develop and write conditionreports based on visual and in-depth examination oftheir work. Following on, consideration is given to therange of conservation treatments available in order tomake informed choices. A great emphasis is placed on‘context’, and the peculiarity of the Egyptianenvironment. The students are taught that damagemapping is an essential component of thedocumentation process before the start of theintervention.

Training includes general archaeologicalphotography so that condition reports produced forfuture work will include images to be placed in apermanent archive.

The course syllabus also includes basicegyptology, scientific conservation principles,materials science, architectural techniques andnomenclature, as well as ethics of conservation, withan introduction to the Athens, Venice, Burra andother internationally recognized charters.

Further specialized training includes more in depthinstruction on adhesives and consolidants, saltdamage, desalinization and poulticing of structureswithin the temples.

Taking advantage of excavation works routinelycarried out in the area, students have the chance toparticipate in hands-on conservation work on smallobjects, for which they also receive training.

One of the most significant problems we faced insetting up the course was the lack of suitable written

materials in Arabic. The need for Arabic textpublications was essential to give the students furtherreadings and permanent help. It was therefore agreedthat I would translate selected articles, reports andhandouts in Arabic to be used in class.

This circumstance led me to undertakethe preparation of an English-Arabic glossary ofterms, which were taught and covered in the fieldschool. These included scientific, architectural andconservation terms, as well as terminology related toother materials we covered. At the end of the glossaryI included a separate section of geology terms.

This English -Arabic Glossary of ConservationTerms was prepared to include the main conservationterms used in teaching the concepts and specifics ofconservation. The glossary was designed to provide aconcise, yet complete, listing of thoseterms necessary for an adequate understanding of thelanguage of conservation. It is a reference that mayeither serve as an introduction for those beginningstudies in conservation, or a useful reference tool forthose already working in the field.

The glossary is by no means exhaustive. It

The author during a lesson

"

The First Version of an English-ArabicGlossary of Conservation Terms

Copyright: Ow

en Murray.



emphasizes those terms most often needed inarcheological conservation and also stresses termswhich apply to large archaeological sites, such as thetemples of Karnak and Luxor, where the trainingprogram and conservation work was based. I intendedto use the traditional Arabic language, instead of theformal one to make it easier for readers.

The glossary will be flexible and students willbe able to add new concepts, terms and language asthey continue their work and studies.

Learning about conservation is an ongoing process;as we learn more we will realize that we have even

more to learn. This glossary is only intended to be thefirst step in a lifelong process.

The glossary would also be helpful to otherprofessionals working in Egypt and other Arabicspeaking areas. It would be a useful tool in trainingto preserve cultural heritage.

The glossary was of great help to the students asthey could better understand the instructors, as well asinstructions in class and on site.

In the future, I plan to develop a series of specialistglossaries, including one on paintings, wallpaintings, stones, metals and health and safety.

BiographyFrom 2007 Saied Abdel HamidHassan is Assistant ProjectDirector at ARCE ConservationProject in Luxor, AmericanResearch Center In Egypt. From October 2006 to June2007 he was a Fulbright Fellowat UCLA/Getty MastersProgram in Archaeologicaland EthnographicConservation, University ofCalifornia, Los Angeles.Previously he held a numberof positions in Egypt including Head of Conservation ofCoptic Icons and Mural Paintings at the Department ofSupreme Council of Antiquities, Cairo; Object conservatorfor the Supreme Council of Antiquities, Cairo.In 2009 he obtained Master of Arts at Cairo University,Egypt; he is a PhD candidate at Cairo University, Faculty ofArchaeology, Conservation department. Address: 10 Haroon El Rasheed St. Begam, Shubra AlKhema, Egypt.Electronic mail: [email protected] !

Pylon of Khonsu Temple, Karnak Complex, Luxor, Egypt.

First group of graduate students 2007/2008.

Copyright: Saied Ham

ed

Copyright: Amal Ali



All New IIC Website - MigrationCompleted!Hopefully you have already noticed thatthe IIC website is different. The visualappearance has been updated, but themore significant changes have takenplace behind the scenes. Some featuresof the new website which will be ofinterest for members and visitors are:

Registration for an IIC account isnow open to non-members allowingusers to receive news and notificationsfrom IIC for free. We hope that bygiving more users the chance to connectwith our work, we will also widen ourpaid membership base. Website searchhas been improved. Keyword searchingis allowed for everybody using the textbox on the top right corner of the page.All content (including publications) issearchable based on keywords. Contentis also classified using faceted searching,which allows users to be more focusedand efficient in their search with greatersuccess of retrieving relevant results. Thisfeature is only available to IIC members.At the moment faceted searching isavailable on recent news and events, butwe are planning to extend it to all pastnews stories and publications.

Browsing publications has improved.It is now possible to retrieve easily aspecific article by using its reference.Keyword searching works forpublications using the text box on the

top right corner of the page.Publications references work with the

popular reference manager Zotero sothat the IIC website can be used as arepository of references for usersacademic publishing.

Online discussions are now availablefor every transcript of the Dialogues fora new century initiative. This is availablefor IIC members only.

Social media is incorporated in everypage to facilitate the sharing of IIC news,Dialogues and publication referenceswith friends.

The Events page has been redesigned

Please help!We would like you to:

Log on to your account with yourexisting IIC username and passwordand check your account details -especially your contact details and postaladdresses.

Send us feedback by using the site-wide contact form, so that we improvethe new website.

Contribute to the Dialoguediscussions and use the new socialnetworking tools to make the website alively and vibrant space.

Please be patient if and when you "

to include a list of forthcomingdeadlines. We are also launching a betaversion of a calendar tool, to whichusers can subscribe from their owncalendar client (e.g. Sunbird, MSOutlook, iCal etc.) and receive eventsalongside their personal or workcalendars.

This has been a very significantchange for IIC and technically achallenging task. Although we haveundertaken thorough testing, thecomplexity of the task is such that toolswe wish to offer may require furtherconfiguration.

IIC News



discover something that is not workingas it should in the first few weeks - wewill fix it.

We hope you will enjoy using the newwebsite as much as we have enjoyedbuilding it.

Congratulations from NiC toPaul Schwartzbaum!

On 31 October 2011, PaulSchwartzbaum was awarded anHonorary Doctorate: Doctor HonorisCausa from the University of Art andDesign Cluj-Napoca, Romania inrecognition of a career in conservation.

Paul is a former Council Member ofIIC, former Chief Conservator/Restorer at ICCROM and former ChiefConservator at the Solomon R.Guggenheim Museums.

Congratulations to two new IICFellowsIris Schaefer

Born in 1963,Iris began trainingin 1983 with aprivate restorer inEssen and at theLandesamt fürDenkmalpflege inMünster,Germany. From1986, Iris studiedconservation ofpainting and painted wooden sculptureat Cologne’s University of AppliedSciences, Germany, graduating in 1990.She worked at the Wallraf-RichartzMuseum and Museum Ludwig inCologne and in 2002 she became headof conservation.

After the Museum merger with theFoundation Corboud, in 2002, on Irisinitiative the institution embarked on aninvestigation of Impressionist and Post-impressionist techniques. Thepresentation of the results of an ensuingjoint project (2005–2008) with theCologne Institute of ConservationSciences aroused great public interestand was rewarded with the IIC KeckAward in 2010.

Since 1999 Iris have been active inpromoting training at the CologneInstitute of Conservation Sciences, andsince 2005 she has taught art technologyand conservation at CologneUniversity’s Art Historical Institute.

Kathrin KinseherKathrinKinseher wasoriginallytrained as apaintingsconservator atthe CologneInstitute ofConservationSciences. From1990 to 1995 shehas worked inthe field ofpaintingconservation atthe MuseumLudwig/Wallraf-Richartzin Cologne. Since1995 she holds a post as lecturer forpainting materials and techniques at theAkademie der bildenden Künste inMunich. She has lectured extensively inGermany and abroad. Her lecturespromote a deeper understanding amongartists of the use and properties ofmaterials used in painting. Her workconsiders the role of the artist withrespect to the longevity of an art work aswell as possible collaborations betweenartists and conservators. Moreover herwork is aimed at creating a link betweenart technical research, contemporary artand art education. One of her currentinterests is the history of research inpainting materials in Munich.

Obituary Robert M. OrganNiC was very saddened to hear of thedeath of Robert M. Organ, formerDirector of the Conservation AnalyticalLaboratory (CAL) of the SmithsonianInstitution and past ICCROM lecturerand consultant. A pioneer of the forensicinvestigation of antiquities, he passedaway in his home in Scotland onOctober 11, 2011.

Robert M. OrganKathrin Kinseher

Iris Schaefer

Paul Schwartzbaum

!



A workshop held at KIK/IRPABrussels as part of theCHARISMA initiativeBy Rebecca Lumsden(National Museum of Ireland)

From the 30th November to the 2ndDecember 2011, the Royal Institute forCultural Heritage (KIK/IRPA) inBrussels welcomed ten participants frommuseums, universities and conservationcentres around Europe and Britain, totake part in a workshop on naturalorganic dyes. The aim of the workshopwas to ‘promote a better understandingof the nature, preparation and use ofnatural organic dyes, which wererelevant for textile dyeing in pre-industrial times’. Offered as part of theoutreach programme of theCHARISMA (Cultural HeritageAdvanced Research Infrastructures:Synergy for a Multidisciplinary Approachto Conservation/Restoration) initiative,the training was targeted at conservator-restorers, scientists and art historianswho have an interest in historicaltextiles. The course was supervised andled by Ina Vanden Berghe (KIK/IRPA),Jo Kirby Atkinson (National GalleryLondon) Maarten van Brommel (RCE)and André Verhecken (Belgium).

Day 1Following an introductory welcome

by Ina Vanden Berghe, the first lectureof the course was delivered by Jo Kirbyon the topic of ‘Natural organic dyes:biological sources and historicalbackground’. Beginning with a breakdown of dyestuffs into colours: - red,yellow, brown/black, blue and purpleand detailing the geographical locationsof the principal sources of each used inEurope, this was followed by a briefexplanation of the main dyemechanisms: – direct, vat and mordantdyes. Returning to specific colours toexamine the chemical composition ofeach dye and its mechanism this lectureprovided a clear and detailed account onthe basic principles of dyeing which wasamply supplemented with images of thedyestuffs and molecular structures of

"

the chemicals involved. After a short break and allowing

some time for questions and discussion,the next lecture was given by Maartenvon Brommel on the principles ofdyeing. Expanding on the introductionto the theory offered by Jo Kirby, thislecture provided more detailedinformation on the chemical reactionstaking place for each dye type and howthese vary, depending on the dye type,the fibre substrate and the mordantingprocess. Describing the sources oforganic dyes: insect dyes (cochineal,kemes, lac); plant roots (madder); plants(weld, dyers broom, woad); wood(redwood, logwood); berries (Persianberries) and molluscs (tyrian purple)

provided an opportunity to appreciatethe extensive range of raw materialsavailable to obtain a broad spectrum ofdyestuffs. The lecture was concludedwith a brief note on the difficulties offormulating modern interpretations ofthe recipes from original sources.

The first practical lab session tookplace after lunch. Each participant wasprovided with an individual dye recipeand a skein of five wools. The skeinswere made up of pre-mordanted wools,the intention of the exercise being toobserve the difference in final colourresult depending on the mordantpresent. Mordants used were alum, iron,copper and tin as well as oneunmordanted strand for comparison.

‘Back to the Roots – Textile Dyeing with Natural Organic Dyes’

Maarten von Brommel leading discussion of dye results

Result of day one practical; dyeing withGalls



Call for papers14th Seminar on the Care and Conservationof ManuscriptsCopenhagen17–19 October 2012For further details see visit: http://nfi.ku.dk/cc/ The deadline for submission of proposals is 1 February 2012.X International Forum Le Vie dei Mercanti -Less/More; Architecture, Design, LandscapeNaples and Capri, Italy31 May–2 June 2012For information, please visit the conference website: www.leviedeimercanti.it/2012eng 4th APLAR Symposium on LaserApplications in Restoration 14–15 June 2012Rome, ItalyPlease submit abstracts to the secretariat of thesymposium by e-mail: [email protected] For further information on this event please visitthe website at: http://www.aplar4.it Conservation in the Nineteenth Century(CiNC)13–16 October 2013National Museum of Denmark,CopenhagenFor further information about this event pleasecontact:Isabelle Brajer, National Museum of Denmark,I.C. Modewegsvej, Brede2800 Kgs. Lyngby, Denmark+45 20 20 95 65‘The Real Thing?’: The Value of Authenticityand Replication for Investigation andConservation6–7 December 2012Glasgow, UKPlease send abstracts as email attachments of nomore than 250 wordsto: Tahitia McCabe,

Day 2Day 2 began with a discussion of the

results from the previous afternoon’sdyeing practical, led by Maarten vonBrommel. This was followed by a lecturefrom André Verhecken on ‘HistoricalRecipes for Textile Dyeing’. This detailedpresentation discussed the sources ofhistorical recipes, from different periods- from antiquity, the Middle Ages andthe Renaissance to the pre-industrial eraand also from different geographicalareas - Egypt, France and Italy which allprovided many sources. The difficultiesassociated with deciphering andinterpreting the technical terminologyof ancient sources was discussed interms of achieving a workable recipeand this supplied plenty to discuss overthe coffee break which followed.

Maarten von Brommel gave thesecond lecture of the day on the topic oforganic colourant analysis. Includingmicroscopy, spectroscopy and chromato-graphy, we were introduced to the basicsof some of the most common analyticalmethods applied to dye and pigmentidentification. This was supported withsome brief examples of analyses onarchaeological textiles from the Hallstattsalt mines in Austria and a coronationmantle dating from the 12th century.

The objective of the second practicallab session, which took place in theafternoon, was to observe the impact onfinal colour by adjusting the variables oftime and temperature to both the dyeextraction and the dye bath. Each

participant was again provided with aspecific dye recipe and identical skeinsof wool as on the previous day.

Day 3Starting with a discussion of the

resulting colours obtained in the secondpractical session, the final day of theworkshop was scheduled as a full day ofpractical lab sessions with the objectiveof producing shades of green, purpleand black with the use of indigo and asecond dyestuff to over dye. Participantswere given two dye recipes, one for themorning, the second to over dye theresults of the first dyeing in theafternoon. The difficulties of achieving aspecific colour by combining two dyeswere discussed and the deep experienceneeded to create homogeneous coloursbecame clear. Demonstrations werecarried out of two synthetic dyes, byMaarten von Brommel and of the brightred/pink colour that can be achieved

Ina Vanden Berghe leading tour of textileconservation labs at KIK/IRPA

with safflower by André Verhecken.Once all participants had completed

their allocated dyeings we gathered againto discuss and compare all the results.The extensive range of colours that wasachieved was quite impressive, and eachparticipant was able to take away a smallreference sample of each colour achieved,totalling one hundred and fifty eightsamples. In addition to this, a copy of alldye recipes used and extensive biblio-graphies were also provided. A longerlength of each colour was retained byKIK/IRPA for future analysis.

Overall the workshop was a hugelybeneficial experience. The small numberof participants meant that there was arelaxed atmosphere that allowedinformal discussion and an opportunityto meet people and learn about newresearch. It also meant that the lab spaceallocated for the workshops were not toocrowded and there was free access to anyequipment or glassware that wasrequired. The course supervisors wereavailable at all times throughout thepractical sessions for advice and opinionabout procedures and results.

Thanks are due to Ina Vanden Berge,Jo Kirby, Maarten von Brommel andAndré Verhecken for their time andexpertise, Marie-Christine (KIK/IRPA)for her practical assistance in the labs,Karena Morton (National Museum ofIreland) for her encouragement,KIK/IRPA for providing facilities andCHARISMA for providing a platformfor this interaction. !



[email protected] by Friday 17February 2012.12th International Congress on theDeterioration and Conservation of Stone22–26 October 2012New York City, USAAbstract Due: 31 January 2011For additional information on this event pleasesee:http://www.arch.columbia.edu/school/section/programs/resources-and-opportunities> The Artifact, its Context and their Narrative:Multidisciplinary conservation in HistoricHouse Museums6–9 November 2012Getty Research Institute,Los Angeles, USAThis is a call for papers for a joint conference ofICOM-DEMHIST andthree ICOM-CC Working Groups.Authors are invited to submit abstracts by 1 March 2012 [email protected] International ceramics conference23–27 October 2012Jingdezhen, JiangxiChinaThe deadline for 1000 word abstracts, plus 3images and tables is 30 January 2012.For further information about this event pleasecontact:Pamela Vandiver, [email protected]

2nd International Conference on Chemistryfor Cultural Heritage9–12 July 2012Istanbul, TurkeyFor further information about this event pleasevisit: http://www.chemch2012.org

WorkshopsWorkshop on Modular Cleaning Program12–16 March 2012Seattle, WashingtonFor more information about this event pleasevisit: [email protected] http://www.conservation-us.org/courses> Adhesives, Consolidants and CoatingsMasterclass28–30 March 2012Stichting Restauratie Atelier Limburg,Avenue Ceramique 224, 6221 KX, Maastricht,NetherlandsFor further information about this event anddetails of how to apply please visit:http://www.icon.org.uk/images/stories/sral_training_adhesives_2012.pdf Understanding of the Parchment in theMedieval Manuscripts21–26 May 2012Horn, AustriaFor booking information visit:http://www.buchstadt.atRegistration-Vnoucek.241.0.html?&L=3 http://www.buchstadt.at/Understanding-of-the-Parchment-in-the-Medieval-Manuscripts.237.0.html

Conference/SeminarSymposium Environmental control in archiverepositories8 March 2012Herbert Art Gallery and Museum, Coventry, UKTo book please contact Lorraine Logan at: [email protected]

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Conservation Challenges, Solutions andCollaboration Opportunities in UncontrolledEnvironments 9–11 March 2012 Hobart, AustraliaICOMOS International Polar HeritageCommitteeFor further information about this event pleasevisit: http://www.polarheritage.com RESTAURO 2012 : i Musei, la ComunitàEuropea e gli Esperti del Colore 28–31 March 2012 Ferrara, ItalyFor further information about this event pleasevisit: http://www.salonedelrestauro.com [email protected] 10th Biennial International Conference on theInfrared and Raman Users group 28–31 March 2012 BarcelonaSpainFor further information about this event pleasevisit:http://www.irug.org [email protected] IFLA International Newspaper Conference2012 : Newspaper Digitization andPreservation : New Prospects, Stakeholders,Practices, Users and Business Models11–13 April 2012 Paris, FranceFor further information about this event pleasecontact:Christiane Baryla, IFLA PAC [email protected]

V Congreso : Patrimonio Cultural. Criteriosde Calidad en Intervenciones 18-20 April 2012 Madrid, SpainFor further information about this event pleasevisit:http://www.vcongresogeiic.com/ [email protected] Indoor Air Quality in Heritage and HistoricEnvironments “Standards and Guidelines”and 10th Indoor Air Quality Conference:Round Table on Standards and Guidelines17–20 June 2012UCL, London, UKFor further details on this event and details onregistration and fees please visit the website at:http://www.ucl.ac.uk/iaq2012/index> Terra 2012 : XIth International Conference onthe Study and Conservation of EarthenArchitectural Heritage 22–27 April 2012 Lima, PeruFor further information on this event pleasevisit:http://congreso.pucp.edu.pe/terra2012/interna_eng.php?option=presentation [email protected] Modern and Contemporary Mural Paintings:Technique, Conservation and Access 4–5 April 2012Valencia, SpainFor further information about this event pleasevisit:http://mcmp2012.webs.upv.es

For more information aboutthese conferences and courses,see the IIC website: www.iiconservation.org.


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The AIC Guide to Digital Photography and Conservation Documentation Second EditionBy Franziska Frey, Dawn Heller, Dan Kushel, Timothy Vitale, Je!rey Warda (editor), and Gawain Weaver

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