BROMEC 34, the Bulletin of Research on Metal Conservation’s April 2013 issue, is now available online at the following websites:

• www.warwick.ac.uk/bromec
• tech.groups.yahoo.com/group/Metals-Conservation-Discussion-Group
• www.icom-cc.org/10/documents?catId=13&subId=127

Eight research abstracts and 8 announcements are presented, together with the usual lists of contacts and informative metal research/conservation websites and discussion groups. The issue includes articles on:

Calls for collaboration:

• Survey on the stabilization of marine iron-organic composite artefacts

New research projects:

• New approaches and applications of electrochemical techniques and corrosion inhibitors for in situ monitoring of shipwrecks and treatment of recovered marine metal-organic composite artefacts
• MAIA: Microbes for Archaeological Iron Artefacts
• Fabrication, corrosion and conservation of the silver jewellery from Lumbe’s Garden, Prague Castle

Ongoing research projects:

• The MIFAC-Metal project: a methodology for studying and analyzing microstructures and corrosion profiles of heritage metals; application to metallographic samples from Swiss collections
• The St Maurice project: development of an electrolytic pen for cleaning tarnished gilt silverware with wooden cores

Finalized research projects

• Conservation of a fluvial deposit of bronzes from Agde-La-Motte

English, French and Spanish language versions are available for downloading as PDF documents.

To subscribe for email updates about BROMEC: www.warwick.ac.uk/bromec-subscription

BROMEC Editorial Team

Anglophone Editor & Translator:

·      James Crawford

Francophone Coeditor:

·      Michel Bouchard

Hispanophone Coeditor:

·      Emilio Cano

Francophone Translators:

·      Nathalie Richard

·      Elodie Guilminot

·      Marc Voisot

Hispanophone Translators:

·      Diana Lafuente

·      Inmaculada Traver

The May 2013 issue features the article “ASG, Past, Present and Future: Architectural Specialty Group at 25,” as well as annual meeting announcements, excellent Health & Safety and Sustainable Conservation Practice articles, and an interesting new cleaning method in the New Materials & Research column. FAIC thanks all the AIC-CERT volunteers and announces new grant and scholarship recipients in the FAIC News column. As always, Specialty Group and Network columns provide timely updates for their members.

Please remember to check the Calendar Listings for interesting conferences and workshops to attend, and for possible venues to present your next paper. This section will be updated continually as new events are announced, so check back often.

I hope you enjoy this new feature of AIC membership!

To access the AIC News, log into the AIC website and navigate to www.conservation-us.org/aicnews. The link is under the Current Issue heading, as well as in the email members received on May 6th.

This is one of the most exhaustive issues we have published so far ncluding a large range of articles on conservation science, 3D documentation, preventive conservation and practical interventions, among others. We hope you will enjoy reading it. Follow them on facebook, twitter, and their blog.

Index
Issue 24,Autumn 2012
ISSN: 1646-9283

Editorial

Viral Conservation
By Rui Bordalo

News and Views

Profound Sounds: an Accidental Pilgrimage with John Cage
By Daniel Cull

Reviews

The Renaissance Workshop: The Materials and Techniques of Renaissance Art
Reviewed by Helen Glanville

Polychrome Sculpture: Artistic Tradition and Construction Techniques
Reviewed by Ana Bidarra

Connecting to Conservation: Outreach and Advocacy
Reviewed by Rose Cull

Copying, Replicating and Emulating Paintings in the 15th-18th Century
Reviewed by Sue Ann Chui

French Bronzes: History, Material and Techniques of Bronze    Sculpture in France (16th-18th centuries)
Reviewed by Carol Grissom

Conservation Matters in Wales
Reviewed by Rachel Robbins

CMA4CH 2012: Use of Multivariate Analysis and Chemometrics in     Cultural Heritage and Environment
Reviewed by Luciano D’Alessio and Pierina Ielpo

Interview

International Conservation Workshop Lopud: Student Perspectives
By Sagita Mirjam Sunara

Articles

British Carlo Maratta Picture Frame: Technical Examination and Restoration Process
By Damian Lizun

Study and Conservation of the Painting “Paul III and Ranzio Farnese” by Parmigianino
By Fatma Helmi, Osama El-Feky and Yasmeen Alam Eldin

A Comparative Study of the Use of Aquazol in Paintings Conservation
By Elisabetta Bosetti

A Flexible Crossbar System for a 19th Century Panel Painting
By Angeliki Bakalarou, Charis Theodorakopoulos

Study and Conservation of the City Center of Shahr-e Ray, Iran
By Vahid Heidary

3D Documentation Using Terrestrial Laser Scanning of the Remains  of the Jesuit Mission in the Region of Lake Tana, Ethiopia
By Christian Dietz, Gianluca Catanzariti, Pablo de la Presa,  Victor M. Fernandez and Alfredo Jimeno Martinez

Between Tradition and Innovation: 3D Documentation of Enna’s monuments
By Antonella Versaci and Alessio Cardaci

Brushes for Retouching: How to Choose Them
By Ana Bailao and Sandra Sustic

The Use and Influence of Varnish on Paintings
By Marc Maire

Preventive Conservation of the Bark Cloth Collection of The University of Queensland Anthropology Museum
By Kate Stanway

Preventive Conservation: a Key Method to Ensure Cultural Heritage’s Authenticity and Integrity in Preservation Process
By Heidi Wirilander

The Concept of Cultural Heritage Preservation
By Ali Miri

Book Reviews

The AIC Guide to Digital Photography and Conservation Documentation, 2nd Edition
By Rose Cull

Materials, Technologies, Practice in Historic Heritage Structures
By Mirela Anghelache

The topics covered include:

• The value of preserving original historical items and using good digital copies.
• Digitization “best practices” developed by museums, archives, and libraries and less expensive, less complicated “good practices” that may be acceptable for some archive projects;
• Strengths and weaknesses of five common scanning software programs and specific workflow, steps, and settings for using the software to create archival images;
• Use of the consumer level Photoshop Elements software and professional level Photoshop CS when creating master archival images and for preparing images for presentation;
• Use of the consumer level Nero WaveEditor software and the higher level Adobe Audition software for preparing recordings for presentation;
• Suggestions, workflow and settings for creating historical slide shows using consumer level and more advanced slide show software;
• Copyrights and related legal rights with attention to pivotal provisions for historical items including inheritance of copyrights and the fundamental change in copyright ownership for professional photographs before and after 1978;
• Technical information and recommendations on color management, effective resolution of scanners, using copy stands with cameras, and batch processing of images.

James Kennedy, the site’s creator first began working with historical items over 12 years ago after retiring from a career that spanned non-profit organizations, government, academics, and industry, working with involved data analysis and systems analysis, programming, and management for data processing systems. While his initial interest was family history, his work soon expanded to include developing digital archives and displays of historical information about a small Amish/ Mennonite town.

He remembers useful technical information and guidelines were difficult to find when he first started out. Meeting with the digitization group at the Denver Public Library was a breakthrough for sorting out the inconsistent opinions and for finding reliable information about appropriate digitization practices. However, extensive study of manuals and trial-and-error learning was still required to actually apply the practices with the various technology and software.  Hopefully this site will provide useful information for small institutions and historical societies as they begin tackling their own digitization projects.

For more information visit http://archivehistory.jeksite.org/

Having been a textile conservator at the MMA for over 30 years, I confess that in some ways I kept to myself and did not always participate actively in the Textile Specialty Group endeavors,(though maintained my membership throughout my professional career.)

Now that I am preparing to teach a course on Textile Conservation at the UCLA/Cotsen/Getty Villa program on archaeological conservation, I would like to sincerely thank all of you who have put so much time, energy, professional thought and your personal and intellectual experience into what has become the WIKI– TEXTILES project.

It is a tremendous service to the field, and all of us can benefit from it.
Christine Giuntini, Susan Heald, Meridith Montague, Mary Ballard, Lucy Commoner, Kathy Francis, Deborah Trupin, Sarah Stevens, Jane Merritt,Susan Mathisen, Denyse Montegut, Sara J. Wolf and EVERYONE who contributed in the past untold hours to make this project what it is, and to those who continue to contribute now their time and effort into this project — all deserve a huge thanks and recognitition of the work that has gone into the project.

I personally and professionally truly appreciate what you have done, and think it is a great project. It is so useful on so many levels, designed with forsight and integrity, filling a big need for the profession.

I just wanted at this time to thank you all for your efforts. It is and will be a great resource for so many.
Best,
Elena

Elena Phipps
President, Textile Society of America (2011-2014)

http://www2.warwick.ac.uk/fac/sci/physics/research/condensedmatt/sims/bromec

http://tech.groups.yahoo.com/group/Metals-Conservation-Discussion-Group/

http://www.icom-cc.org/10/documents?catId=13&subId=127

Nine research abstracts and five announcements are presented,
together with the usual lists of related contacts and informative
metal research/conservation websites and discussion groups.

You will find English, French and Spanish language versions for
downloading as PDF documents.

As a reader, or potential contributor, we trust you will find this
issue informative and useful.

BROMEC Editorial Team

Anglophone Editor and Translator:
James Crawford

Francophone Coeditor:
Michel Bouchard

Hispanophone Coeditor:
Emilio Cano

Francophone Translators:

Nathalie Richard
Elodie Guilminot
Marc Voisot

Hispanophone Translators:

Diana Lafuente
Inmaculada Traver

Working in a city where there is a museum nearly at every corner, we enjoyed reading Health & Safety for Museum Professionals because it illuminated a world of work and workers largely hidden from our view when we visit the many museums here in Washington, District of Columbia. Most of all, we enjoyed reading this book because it is well written, well organized, and informative without being a ponderous reference book. Health & Safety for Museum Professionals is a valuable addition to any safety and health professional’s shelf of resource books, but it would seem to us an indispensible one for every museum safety professional.”

Excerpt from book review by John Howard, MD, and Anita Schill, PhD, National Institute for Occupational Safety and Health, Washington, DC, appearing in the Journal of Occupational and Environmental Medicine, Volume 54, Number 1, January 2012

For all of us in the field, but especially for us emerging conservators, this is an excellent opportunity to contribute to a dynamic, new resource that is already providing a great benefit for our profession. Volunteering for this project is also a way to acquire new skills and knowledge, and to connect with your colleagues and peers!

If you are interested in working on the wiki, please contact AIC e-Editor Rachael Perkins Arenstein with your contact info and area of interest: rachael AT AMArtConservation dot com.  Interested in helping but uncertain how you’d like to contribute or what you might be able to offer?  We can help direct you to the appropriate specialty group or connect you with another conservator to work on content. For emerging conservators, this could be an opportunity for a mini mentoring exercise with an experienced conservator, who would offer knowledge and advice to help pull together content for an article. Again, please contact Rachael if you’d be interested in such an opportunity.

We hope to hear from you! And at the very least, if you aren’t familiar with the AIC wiki, or if you haven’t checked it out in awhile, take a look at the main page, and remember to check back often, as new content will be continually added.

The Journal of Conservation and Museum Studies

We are currently welcoming contributions focusing on:

• Collection and exhibition management
• Critical approaches to conservation, museum collections and exhibitions
• Learning, communication, interpretation and evaluation of museums
• Materials science and technical studies of objects, collections and conservation materials
• Participatory processes
• Professional and ethical issues
• Remedial or preventive conservation

Check the JCMS website and get in touch with Renata Peters (m.peters@ucl.ac.uk) and/or Anastasia Sakellariadi (a.sakellariadi@ucl.ac.uk) if you wish to contribute.

Editorial board:

• Renata Peters, UCL Institute of Archaeology, UK
• Dr Anastasia Sakellariadi, UCL Institute of Archaeology, UK
• Eleni Asderaki, Archaeological Museum of Volos, Greece
• Dr Kalliopi Fouseki, UCL Centre for Sustainable Heritage, UK
• Dr Alan J. Hogg, University of Michigan, USA
• Emily Kaplan, National Museum of the American Indian, USA
• Dr Barry Knight, The British Library, UK
• Dr Theano Moussouri, UCL Institute of Archaeology, UK
• Eric Nordgren, The Mariners Museum Norfolk, USA
• Prof Elizabeth Pye, UCL Institute of Archaeology, UK
• Prof Bethania Reis Velloso, Universidade Federal de Minas Gerais, Brazil
• Dr Cordelia Rogerson, The British Library, UK
• Devorah Romanek, The British Museum, UK
• Tracey Sweek, The British Museum, UK
• Brian Hole, Ubiquity Press, UK

ISBN 978-3-9813755-1-0
Euro: 29,80
Paperback
255 pages, 28 f/c and 194 b/w photos

Proceedings from the first Future Talks conference, organised by the Conservation Department of Die Neue Sammlung. The International Design Museum Munich, October 22-23, 2009. With 27 conference papers this volume highlights current scientific research. It presents a comprehensive compilation of innovative practical conservation treatments of degraded plastics worldwide, including continuative information on materials and authors. Contributions among others by Thea van Oosten, Yvonne Sahashoua, Friederike Waentig and museums such as MOMA NY, The International Design Museum Munich, SF MOMA, V&A London, Triennale Design Museum Milan and many more (see below).

Contents:

Collecting Plastics
Identification of plastics
Cleaning and consolidation of plastics

Tim Bechthold is Head of Conservation at Die Neue Sammlung. The International Design Museum Munich. In 2002 he set up the Conservation Department. Since that time thereis a strong focus on the conservation of degraded modern materials.
Through the research into the deterioration and preservation of the collections, the development of new conservation processes and the knowledge of original technology, the Conservation Department has become an important hub for the conservation and the maintenance of modern design objects. It also plays an active role in networking and information sharing. and takes part in national and international research projects in the conservation of design. He has initiated and organised both the Future Talks 009 in October 2009 and the Future Talks 011 in October 2011.

Order via :    conservation [at] die-neue-sammlung__de
or your (online) bookstore.

Picasso Express
Musee Picasso, Antibes, 2011. 166 pp.
Soft cover. In French with English translation.

Description: Pablo Picasso is renowned for pushing the boundaries of conventional art making and for his innovative experimentation with materials, including Ripolin, a line of matte and glossy enamel paints–”Ripolin Express” being one of those–manufactured by the eponymous French company. Ripolin paints gained enormous popularity in France and Europe starting from the beginning of the 20th century

and had a profound impact on artists.

This interdisciplinary book, integrating the voices of art historians, scientists and conservators offers an original, highly detailed and yet accessible vision on the different aspects of Picasso’s experience and practice in Antibes, shedding ultimate light on the legend that has grown around the artist’s use of Ripolin.

Produced by the Musee Picasso, Antibes (France) this book delves deeply into Picasso’s use of enamel paints, which has long been known in the literature and cited on gallery labels, but has rarely been scientifically demonstrated in individual works. With evidence from documentary sources as well as new, extensive scientific analysis of the works in the Antibes collection, created during the

artist’s prolific 1946 residence in the Chateau Grimaldi, this book for the first time presents a scientific study of Ripolin and how it can be distinguished among the paints chosen by artists in the first half of the 20th century. An in-depth art-historical overview of Picasso’s use of this unconventional medium before 1950 sets the stage for the discussion. The book also explores in detail the

surface of the paintings and illustrates the fascinating new creative solutions inspired by enamel paint in Antibes, providing the material vocabulary to articulate the evolution of the artist at this critical time of renewal. Extensive background information on the history of the Ripolin manufactory and the technology of its renowned products is also gathered here for the first time.

Authors: Jean-Louis Andral is Director, Musee Picasso, Antibes; Francesca Casadio, Gwenaelle Gautier and Kim Muir are members of the Department of Conservation of the Art Institute of Chicago; Marilyn McCully is an independent art historian; Michael Raeburn is an independent scholar; Daniele Giraudy is Curator Emerita and Former Director, Musee Picasso, Antibes; Benoit Dagron is an independent

conservator; Alain Colombini and Emilie Hubert are scientist and photographer, respectively, at the Centre Interregional de Conservation et Restauration du Patrimoine, Marseille.

Available online at http://www.abebooks.com/servlet/SearchResults?paratrk=&isbn=9782905315014

Volume 32 of the Technical Bulletin is a special issue devoted to the work of Leonardo da Vinci, his training in the workshop of Verrocchio, and his followers and associates. Its publication in print coincides with the National Gallery exhibition Leonardo da Vinci: Painter at the Court of Milan (9 November 2011 – 5 February 2012).

Series Editor: Ashok Roy

Contents:

Leonardo in Verrocchio’s Workshop: Re-examining the Technical
Evidence
Jill Dunkerton

Leonardo da Vinci’s Virgin of the Rocks: Treatment, Technique
and Display
Larry Keith, Ashok Roy, Rachel Morrison and Peter Schade

Painting Practice in Milan in the 1490s: The Influence of Leonardo
Marika Spring, Antonio Mazzotta, Ashok Roy, Rachel Billinge and
David Peggie

Altered Angels: Two Panels from the Immaculate Conception
Altarpiece once in San Francesco Grande, Milan
Rachel Billinge, Luke Syson and Marika Spring

To purchase and for more information, go to www.nationalgallery.co.uk/products/p_1032030

We are currently welcoming contributions focusing on:

•    Collection and exhibition management
•    Critical approaches to conservation, museum collections and exhibitions
•    Learning, communication, interpretation and evaluation of museums
•    Materials science and technical studies of objects, collections and conservation materials
•    Participatory processes
•    Professional and ethical issues
•    Remedial or preventive conservation

Check the JCMS website and get in touch with Renata Peters and/or Anastasia Sakellariadi if you wish to contribute to the re-launch.

Editorial board:
Renata Peters, UCL Institute of Archaeology, UK
Dr Anastasia Sakellariadi, UCL Institute of Archaeology, UK
Eleni Asderaki, Archaeological Museum of Volos, Greece
Dr Kalliopi Fouseki, UCL Centre for Sustainable Heritage, UK
Dr Alan J. Hogg, University of Michigan, USA
Emily Kaplan, National Museum of the American Indian, USA
Dr Barry Knight, The British Library, UK
Dr Theano Moussouri, UCL Institute of Archaeology, UK
Eric Nordgren, The Mariners Museum Norfolk, USA
Prof Elizabeth Pye, UCL Institute of Archaeology, UK
Prof Bethania Reis Velloso, Universidade Federal de Minas Gerais, Brazil
Dr Cordelia Rogerson, The British Library, UK
Devorah Romanek, The British Museum, UK
Tracey Sweek, The British Museum, UK
Brian Hole, Ubiquity Press, UK

JCMS website:  www.jcms-journal.com
Renata Peters: m.peters@ucl.ac.uk
Anastasia Sakellariadi:  a.sakellariadi@ucl.ac.uk