%0 Journal Article
%T Conservation of a Chine-coll¨¦ Etching by Menci Clement Crn£¿i£¿
%A Gobi£¿ Vitolovi£¿
%A Iva
%A Serhatli£¿
%A Sanja
%J -
%D 2019
%R http:dx.doi.org/10.17018/portal.2019.10
%X Sa£¿etak The paper describes the treatment of the chine-coll¨¦ colour etching Pod zidom, made around 1910 by Menci Clement Crn£¿i£¿ (1865¨C1930). The artwork was executed on paper with a composite structure, that consists of the imagebearing layer made of thin hand-made paper (chine), adhered to the secondary support (plate paper) made of heavier machine-made paper, during the printing process. The print suffered from severe damage caused by grime, insects, water and inadequate handling and storage. In addition to extensive surface and ingrained dirt on both sides of the paper, nearly the whole top third of the print was significantly discoloured by an oil stain, and the bottom right corner by a water stain (tide line). The paper support became brittle due to acidity, which, in addition to mishandling, resulted in mechanical damage: tears, fraying and cracking, particularly around the margins and in the upper part of the print, with a crack running almost the entire length of the horizontal line. Silverfish (Lepisma saccharina) caused significant abrasion on the top layer of the paper support, on both the margins and the image, leading to several holes, and adding to the paper¡¯s fragility. As the structural and aesthetic aspects of the print were both greatly compromised, the request of the owner, and the goal of conservation treatment, was to strengthen the weakened structure of the artwork, as well as to improve its aesthetic value by reducing discoloration and stains. Due to the delicate nature of the chine-coll¨¦ print, careful planning and a cautious approach was necessary in order to avoid treatments that might result in the separation of the two sheets forming the paper support. After thorough physical and chemical analysis of both the support and media, followed by the removal of surface impurities using a dry cleaning method, aqueous procedures to reduce the discoloration, stains and acidity proved to be necessary, and actually possible with a sensitive approach. The complex conservation treatment included cleaning with gels and solvents, capillary and blotter washing, deacidification and bleaching. Sun bleaching was chosen as the most sensible treatment method; it is least harmful to cellulose, and simultaneously used for deacidification in an aqueous solution with calcium hydroxide. After the desired aesthetic improvement was achieved, tears and creases were repaired with Japanese paper and wheat starch paste, while the areas of surface loss damaged by silverfish were filled with micro-cellulose powder and thin methylcellulose. An empirical
%K etching
%K chine-coll¨¦
%K paper
%K cellulose
%K physical and chemical analysis
%K restoration
%K stains
%K discoloration
%K sun bleaching
%U https://hrcak.srce.hr/index.php?show=clanak&id_clanak_jezik=337293