A Closer Look at Iron Gall Ink Burn
| Main Authors: | , |
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| Format: | Article |
| Language: | English Slovak |
| ISSN: | ISSN 0034-5806 |
| Online Access: | http://www.viks.sk/chk/res_3_94_173_187.doc |
| Abstract: | Conclusions. There is a necessity for deeper research and further understanding of the working of iron gall ink burn. From this open standpoint, the treatment to the drawings in the Teyler Museum is by local support of weakened areas. We chose to use a Japanese paper (Tengujo) with Klucel G in ethanol as an adhesive. Margaret Hey advised us to use isopropanol instead of ethanol, as the latter contains a small percentage of water. This advice was then followed. From our working experience with this method, we have found that Klucel G in isopropanol is more difficult to use than when dissolved in ethanol (it dries more quickly). If the adhesive was used as a consolidate (on the recto of the image) it gave a slight discoloration. This may be due to an optical effect of the changing of the paper structure, as now a thin film lies on a previously open structure. We also buffered the Tengujo with calcium hydroxide to a pH of 8, to slow down the acid effect of the burn. Shelly Fletcher prompted us to consider the future use of the more stable Ethulose 400 in the place of Klucel. The disadvantage of this is that this more stable, water-based Ethulose cannot be used with ethanol only. The solvent-based Ethulose is less stable than Klucel.18 The historical aspect of keeping the collection in its original state is of great importance. Therefore all the rag paper support sheets remained with drawings, thus retaining their original appearance. Drawings that were affected by the ink burn in large areas were treated by inserting a sheet of acid-free tissue paper in between the drawing and the support sheet. The treatment is completed by setting the drawings in acid-free window mounts and in acid-free boxes. Other drawings remained in their albums because this was their original way of being stored. The relative humidity was strictly controlled. We are very aware that the procedure we have adopted is a temporary one. The drawings are looked at every five years as an additional control measure. We hope that, upon reading this article, old interests are reactivated and the discussion about iron gall ink burn is revived, so that more research is initiated to find a solution to this problem. Further research is conducted at the Central Research Laboratory for Objects of Art and Science in Amsterdam. Preliminary results indicate that deacidification is not the ultimate solution. Oxidation of the cellulose catalyzed by the iron(II)ions in the ink appears to contribute considerably to the process of ink burn. This process can be inhibited by deactivating these ions by complexing agents. Future research will focus on this deactivation as well as on developing methods to measure the inhibition of oxidative degradation of paper. Lastly we would like to thank everybody that has provided information, advice, opinions, and given support in making this article possible and, most of all, to Teylers Museum Haarlem, 1992 and its wonderful collection. Summaries. Dealing with the problem of iron gall ink burn, the authors studied the relevant technical literature and then asked by correspondence 26 restorers from 9 countries (Belgium, Canada, Denmark, France. Hungary, Italy, the Netherlands, United Kingdom and United States) for their opinion, experience and their attitude to the problem. Quite great discrepancies were to be stated, regarding not so much the scientific understanding description of the phenomenon but such fundamental questions for practical treatment as working with water or avoiding aqueous treatment. |
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| ISSN: | ISSN 0034-5806 |
