CONSOLIDATION OF POROUS PAINT IN A VAPOR-SATURATED ATMOSPHERE
ERIC F. HANSEN, ROSA LOWINGER, & EILEEN SADOFF
Domaslowski, W.1987–88. The mechanism of polymer migration in porous stones. Weiner Berichte uber Naturwissenschaft in Kunst4/5:402–25.
Feller, R. L., and N.Kunz. 1981. The effect of pigment volume concentration paint on the lightness and darkness of porous paints. AIC preprints. Washington, D.C.: American Institute for the Conservation of Historic and Artistic Works. 66–74.
Feller, R. L., N.Stolow, and E.Jones. 1985. Picture varnishes and their solvents, Washington, D.C.: National Gallery of Art. 137–45.
Futernick, R.1989. Personal communication.
Hansen, E. F., M.Derrick, M.Schilling, and R.Garcia. 1991. The effects of solution application on some physical properties of thermoplastic polymers used in conservation: Poly(vinyl acetates). Journal of the American Institute for Conservation30:203–13.
Hansen, E. F., E.Sadoff, and R.Lowinger. 1990. A review of the problems encountered in the consolidation of painted ethnographic objects and potential solutions. ICOM Committee for Conservation preprints, 9th Triennial Meeting, Dresden. ed.K.Grimstaad. Los Angeles: ICOM Committee for Conservation. 163–68.
Johnston, R. M., and R. L.Feller. 1965. Optics of paint films: Glazes and chalking. In Application of science in examination of works of art. Boston: Museum of Fine Arts. 86–95.
Johnston-Feller, R. M.1990. Personal communication.
Koob, S. P.1981. Consolidation with acrylic colloidal dispersions. AIC preprints. Washington, D.C.: American Institute for the Conservation of Historic and Artistic Works. 66–74.
Maltby, S.1987. “Atmosbag”: A controlled atmosphere chamber with built-in gloves. Ethnographic Conservation Newsletter3:20–21.
Patton, T. C.1979. Paint flow and pigment dispersion. New York: John Wiley and Sons.
Schiessl, U.1989. Konservierungstechnische beobachtungen zur festigung wassrig gebundener, kreidender malschichten auf holz. Zeitschrift fur Kunsttechnologie und Koservierung2:293–320.
Tess, R. W.1985. Solvents. In Applied Polymer Science, ed.R. W.Tess and G. W.Pohlein. Washington, D.C.: American Chemical Society. 661–700.
Welsh, E. C.1980. A consolidation treatment for matte, powdery paint. AIC preprints. Washington, D.C.: American Institute for the Conservation of Historic and Artistic Works. 141–50.
Walston, S., D.Horton-James, and S.Zounis. 1987. Investigation into methods and materials for the adhesion of flaking paint of ethnographic objects: A progress report. ICOM Committee for Conservation preprints, 8th Triennial Meeting, Sydney, Australia. K. Grimstaad. Los Angeles: Getty Conservation Institute. 141–50.
Wicks, Z.1990. Personal communication.
Wilks, H.ed.1987. Science for conservators, book 3: Adhesives and consolidants. London: The Conservation Unit, Museums and Galleries Commission. 127–28.
SOURCES OF MATERIALSOchres
Ward's Natural Science Establishment, Inc., P.O. Box 92912, Rochester, N.Y. 14692–9012Kaolin
S. Paul Ward, Inc., 60 Mission St., Box 336, South Pasadena, Calif. 91030Atmosbag
Aldrich Chemical Co., Inc., 1001 West Saint Paul Ave., Milwaukee, Wis. 53233
ERIC F. HANSEN is a Fellow of the AIC who graduated from the University of California at Irvine in 1980 with an M.S. in organic chemistry and joined the Getty Conservation Institute in 1985. In his current position as an associate scientist, he is pursuing his interests in the environmentally induced deterioration of synthetic and natural organic materials (including collagen, fibroin, and keratin), the conservation of ethnographic and archaeological objects, and the analysis of the effects of treatment parameters on the final physical and optical properties of treated objects. Address: Getty Conservation Institute, 4503 Glencoe Ave., Marina del Rey, Calif. 90292.
ROSA LOWINGER is the director of the Sculpture Conservation Studio, a conservation facility in Los Angeles for the preservation of sculpture and decorative arts. In her 10 years in private practice, Lowinger has worked with numerous institutions and public agencies, including the City of Los Angeles, the National Park Service, and the U. S. Navy. She has an M. A. in conservation from the Institute of Fine Arts, New York University, and has been a fellow at the Los Angeles County Museum of Art and the University Museum, University of Pennsylvania. Address: Sculpture Conservation Studio, 1144 South Stanley Ave., Los Angeles, Calif. 90019.
EILEEN SADOFF is employed in the objects conservation laboratory at the Los Angeles County Museum of Art. From 1988–90 she assisted Eric Hansen with the development of the ethnographic training course at the Getty Conservation Institute. She was most specifically involved with facsimile research and manufacture to replicate the problems associated with powdery matte pigments on indigenous artifacts, and with testing of consolidants and application techniques for this type of object. She received a B.A. in art from the University of Minnesota, Address: Los Angeles County Museum of Art, Conservation Center, 5905 Wilshire Blvd., Los Angeles, Calif. 90036.