Rydych chi yn:  > 

Gorffennaf 2014

9 DAYS TO GO! A VIDEO OF FRAMING UP A LITHOGRAPH PRINT

Postiwyd gan Maria del Mar Mateo ar 24 Gorffennaf 2014

Welcome again!

 

We are in the final stretch of concluding this interesting and amazing project. We have been working hard during the last few weeks mounting and framing the 66 lithograph prints to have them ready for the exhibition The Great War: Britain’s Efforts and Ideals on the 2nd August at National Museum Cardiff.

In the following video you will enjoy the framing process carried out by our colleague Richard. As you can see it is a delicate procedure and the framer needs to be really clean and gentile with the work of art.

 

We have had the 66 frames specially made and stained by a local frame maker. The scratch resistant Perspex* we have used had to be washed with soap and water to remove all traces of adhesive before being taped into the frame. Conservation framing is about making a sealed package to protect the work of art from the outside environment whilst making sure that the content of the package are all up to conservation standards.

 

Once the Perspex is fitted in the frame, we clean it very well with glass cleaner and anti-static cloth being sure that is completely clean and we don’t want to scratch the Perspex. Then we put the mount with the work which is already free of any fluff over the surface in the frame. After that, we put in the backboard and keep it all together using a framer’s gun. Lastly we seal the frame with gum brown paper tape.

 

Don’t forget to join us next Saturday 2nd August for the opening of the show!

 

 

*Perspex: acrylic material is useful because it is light and unlikely to break on impact. However, these materials do scratch more easily and because of static, should never be used to glaze pastels, charcoal, chalks, or friable material

RESEARCHING FIBRES IN THE MICROSCOPE!

Postiwyd gan Maria del Mar Mateo ar 3 Gorffennaf 2014

Now it is time to research the fibres used during the paper making process in the different papers of ‘Effort and Ideals’ lithograph prints.

There are several methods to identify fibres such as the staining technique. The most common is Hertzberg’s Reagent which is used for paper fibres are based on iodine and zinc chloride. This type of stain is formulated to dye different groups of fibres differing colours. However, there are many disadvantages using this system because the specific colours stated for particular fibres are difficult to reproduce.

So, in this case we decided to take some samples of fibres of the prints and identify them under the polarising microscope.

In the first image, we are taking a small sample of fibres from one of the prints. We are using an invasive and destructive technique for that reason we have to be extremely careful taking the sample. Just shaving a little bit the very bottom edge we will be able to get enough fibres to analyse in the microscope.

In the third picture we are leaving the fibre sample on the microscope slide. After that, we will cover the sample with a cover slip and sealing with Meltmount (is a thermoplastic: it is fluid when heated and functionally a solid at room temperature; the appearance of the prepared slide will remain unchanged after the slide is returned to room temperature).

Once the sample is ready, we will work with it in the microscope. We took photos applying different magnifications.

In the fifth image, you can observe a detail of a linen fibre through the microscope. The term ‘linen’ covers a wide variety of material described as flax or linen. In both Europe and China flax has been used as a textile material since at least 4,500 BC.

The raw material after cutting and removing the seed head is retted in still or slow running water to slow process of bacterial decomposition. In some areas the process is carried out in a damp atmosphere only.

Linen is a bast fiber. Flax fibers vary in length from about 25 to 150 mm (1 to 6 in) and average 12-16 micrometers in diameter. Flax fibers can usually be identified by their “nodes” which add to the flexibility and texture of the fabric.

Other samples taken from the thinner prints revealed cotton as a main material. So in both cases we are talking about good quality paper fibres.

 

 

Mehefin 2014

TIME FOR PUTTING THE PRINTS IN MOUNTS!

Postiwyd gan Maria del Mar Mateo ar 12 Mehefin 2014

Here we are again with more news about the lithograph prints conservation process. Now is time for mounting each print in its own conservation mount to be ready for the exhibition opening 2nd August in gallery 18 at the National Museum Cardiff.

Preparing the mounts where the prints will be housed for the next 100 years hopefully! The mounts are cut to the museum standard size, using 100% cotton alkaline buffered museum board (the most expensive available – but the highest quality). The back board is hinged to the mount using water based adhesive tape.

In the following photos you will be able to see how I attach the print to the backing of the mount. First of all, we attached the hinge to the back of the print on the top edge. The hinge is made with Japanese tissue. (Second Photo)

Then, in third photo  I am applying an adhesive over the surface of the hinge. This then folds back over and stick to the back board of the mount.

To reinforce the hinge we will glue another hinge over the top, creating a T hinge. This then allows the print to hang within the mount.

After one week making mounts for the prints we have already done 30 mounts.

Another 36 more to do and just 7 weeks to go… But we still need to make the frames and put them in…

Mai 2014

FIGHTING AGAINST FOXING

Postiwyd gan Maria del Mar Mateo ar 22 Mai 2014

Do you want to know what happened after washing one of the lithograph prints??

So here you are, the before and after washing treatment where you can see that the foxing spots have disappeared completely over the paper surface.

As we said before, the foxing reddish-brown spots can appear in the paper surface due to different causes. For example, the print has been exposed to relative humidity and temperature fluctuations for a long period of time creating an environment for the growing of mould or another possibility, could be that during the paper making process were used raw materials infested with mould.

These micro-organisms can remain latent for months or years awaiting for the appropriate conditions for growth and there are a wide range of colour stains. In some of the lithograph prints we found basically small yellow spots in different areas of the paper surface.

HOLBEIN WATERMARK

Postiwyd gan Maria del Mar Mateo ar 9 Mai 2014

Hello again!

This week we are going to talk about the watermark found on the lithograph prints.

Do you know what a watermark is? Well, the watermark is a design or a pattern which is made during the paper production by the paper makers. The first paper mill which introduced a watermark in its papers was Fabriano, Italy in 1282. A watermark is made by attaching wire in a shape or letters to the mould, the sieve which catches the fibres making a sheet of paper. This then causes the paper to be thinner in this areas. Another way to make a watermark is impressing a water-coated metal stamp or dandy roll onto the paper during manufacturing. Watermarks can show us the manufacturer’s name, an animal, geometric designs, etc.

If you hold a bank note against the light you will be able to see a watermark!

During the lithograph prints conservation process we found in many thinner papers a Holbein watermark. After some research, we discovered that Holbein paper was a handmade printing paper sold by Spalding & Hodge, 145-7 Drury Lane, London WC. At the end of nineteenth century Spalding & Hodge were the owners of paper mills at East Malling in Kent also they bought Horton Kirby Mill, South Darenth, Kent in 1872.

Ebrill 2014

13 WEEKS TO GO! WASHING PAPER. PART II

Postiwyd gan Maria del Mar Mateo ar 29 Ebrill 2014

Hello everybody!

Last week we introduced you into the wonderful world of washing paper. This time, we are going to show you a video where you are able to enjoy a real process.

The lithograph prints were mounted in poor quality mounts and for that reason we decided to remove all of them. The prints were attached to the backing with an animal glue along the very top edge on the back. When put in a bath of water it can be removed easily with the brush. That is what you are going to watch in the video. Enjoy!

WASHING PAPER??!!

Postiwyd gan Maria del Mar Mateo ar 25 Ebrill 2014

Hope all of you had a good Easter!

Now is time to show you one of the most interesting process in paper conservation, the washing treatment. But, can we wash a sheet of paper once it is already made?? Yes, we can. Before washing we have to keep in mind how the art work was made, such as the stability of the ink, damage to the paper, etc. I need to test EVERYTHING to make sure I don’t wash it all away!

We only do the washing if the paper need it. In the lithograph prints we found some dirt, tears, folds, creases, stains and foxing*. Washing them would remove the dirt, some stains and foxing and at the same time would re-forms the hydrogen bonds between the fibres, reinforcing the paper strength and improving the appearance too.

After this process, we deacidified the prints to neutralize the acidity in the paper with an alkaline solution. The alkali reserve will remain in the paper, ready to act against future acidification.

 

*Foxing: reddish-brown spots (the colour of a fox) over the surface of the paper which can be caused by a mold activity or a chemical reaction due to metal impurities in the paper.

16 weeks to go...

Postiwyd gan Maria del Mar Mateo ar 11 Ebrill 2014

Let me introduce myself, my name is Mar Mateo Belda, I’m a paper conservator and after working in different cultural institutions in Spain, Nicaragua, Cuba and the United States, I’ve got a traineeship at the National Museum of Wales.

The purpose of this traineeship is to carry out conservation of the 66 lithographs from the portfolio “Efforts and Ideals” in 1917 that will be exhibited at the beginning of August 2014 with the title “The Great War: Britain’s Efforts and Ideals”.

Let’s get the show on the road!

I’m sure that for most of you, paper conservation sounds like interesting and weird all at the same time and for that reason you need to watch this space to find out what it is and what I’m doing.

The first step we follow before carrying out the conservation treatments of the works is making a condition report to assess the conservation condition of each of them. The next step is to photograph them all to capture the initial condition of the prints.

The countdown has started

Postiwyd gan Emily O'Reilly ar 8 Ebrill 2014

A.S. Hartrick, Ar y Rheilffyrdd: Glanhawyr Peiriannau a Cherbydau
portfolio Gwaith Menywod, Y Rhyfel Mawr, Ysbrydoli'r Ymdrech, 1917
Amgueddfa Cymru – National Museum Wales

C.R.W. Nevinson, Bancio ar uchder o 4,000 o droedfeddi

Portffolio Adeiledd Awyrennau, Y Rhyfel Mawr, Ysbrydoli Ymgyrch Prydain, 1917

Welcome to our blog.  This is the first blog in our journey to opening the exhibition, Britain’s Efforts and Ideas: Prints of the First World War on 2 August 2014 at the National Museum Cardiff.  The countdown has started.   

The exhibition will bring together the works from the portfolio, The Great War: Britain’s Efforts and Ideals. commissioned by Wellington House, the propaganda Bureau that became the Ministry of Information.  The prospectus described the series as …’a first attempt by a number of British artists, working in unison, to put on record some aspects of the activities called forth by the Great war, and ideals by which those activities were inspired.’  Artists of the day including Frank Brangwyn, Augustus John, William Rothenstein, Eric Kennington and C.R.W. Nevinson all contributed prints to the series.  In 1919 the National Museum of Wales was donated a set by the government.  We will be exhibiting these works as a group for the first time. 

Over the next few months we plan to give you an insight into preparations for this show.  Working together, conservators and curators will research and prepare all 66 prints for display.  We will give you an insight into what happens to works when they go ‘to be conserved’, how we can investigate the fibres to identify the paper, what new research will reveal about the series and the public reaction when they went on display.

Mar Mateo, Beth McIntyre and Emily O’Reilly

  • Amgueddfa Genedlaethol Caerdydd

    Amgueddfa Genedlaethol Caerdydd

    Cewch ddarganfod celf, daeareg a hanes natur. Gyda rhaglen newidiol o arddangosfeydd a digwyddiadau, mae rhywbeth i syfrdanu pawb, beth bynnag sy'n mynd â'ch bryd — ac mae mynediad am ddim!

  • Sain Ffagan Amgueddfa Werin Cymru

    Sain Ffagan

    Sain Ffagan yw un o brif amgueddfeydd awyr agored Ewrop, ac atyniad ymwelwyr mwyaf poblogaidd Cymru.

  • Big Pit Amgueddfa Lofaol Cymru

    Big Pit

    Pwll glo go iawn yw'r Pwll Mawr, ac un o amgueddfeydd mwyngloddio gorau Prydain.

  • Amgueddfa Wlân Cymru

    Amgueddfa Wlân Cymru

    Mae Amgueddfa Wlân Cymru, sydd yn hen ffatri wlân y Cambrian Mills, yn lle arbennig ac mae ganddi stori gyfareddol i'w hadrodd.

  • Amgueddfa Lleng Rufeinig Cymru

    Amgueddfa Lleng Rufeinig Cymru

    Yn OC75, sefydlodd y Rhufeiniaid caer yng Nghaerllion a fyddai'n gwarchod yr ardal am dros 200 o flynyddoedd. Heddiw, yn Amgueddfa Lleng Rufeinig Cymru yng Nghaerllion, byddwch yn dysgu pam yr oedd byddin y Rhufeiniaid cymaint i'w hofni.

  • Amgueddfa Lechi Cymru

    Amgueddfa Lechi Cymru

    Mae'r Amgueddfa Lechi'n cynnig diwrnod llawn mwynhad ac addysg mewn ardal ddramatig o brydferth ar lan Llyn Padarn.

  • Amgueddfa Genedlaethol y Glannau

    Amgueddfa Genedlaethol y Glannau

    Mae Amgueddfa Genedlaethol y Glannau yn adrodd hanes diwydiant ac arloesi yng Nghymru, heddiw a thros y 300 mlynedd diwethaf.

  • Rhagor: Archwilio'r Casgliadau

    Gwefan newydd cyffrous yw 'Rhagor' lle cewch ddysgu rhagor am ein casgliadau hynod.