AICCM Bulletin

AICCM Bulletin ISSN: 1034-4233 (Print) 2204-4183 (Online) Journal homepage: http://www.tandfonline.com/loi/ybac20 Advances in the treatment of works on paper from the Asian Art Collection of the National Gallery of Victoria R Shervington, L Wilson & E Polidori To cite this article: R Shervington, L Wilson & E Polidori (2011) Advances in the treatment of works on paper from the Asian Art Collection of the National Gallery of Victoria, AICCM Bulletin, 32:1, 123-133 To link to this article: http://dx.doi.org/10.1179/bac.2011.32.1.016 Published online: 10 Dec 2014. Submit your article to this journal Article views: 68 View related articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=ybac20 Download by: [Elisabetta Polidori] Date: 27 September 2017, At: 18:28 Advances in the treatment of works on paper from the Asian Art Collection of the National Gallery of Victoria R Shervington*, L Wilson, E Polidori Downloaded by [Elisabetta Polidori] at 18:28 27 September 2017 National Gallery of Victoria *corresponding author: [email protected] Abstract The National Gallery of Victoria exhibition The cricket and the dragon: Animals in Asian Art included 120 works and presented an ideal opportunity to undertake conservation treatment on a number of artworks that had not previously been displayed due their fragile nature (Cains 2008, p. 5). The treatment program spanned 10 months and involved a number of interesting treatments that required considerable research into the various art forms. Using the case studies of an Indian miniature painting, an Indian paper cutting and Japanese hanging scroll, this paper presents an overview of our preparation for the exhibition, including research into materials and techniques, technical examination, sourcing indigenous tools and materials for use in treatment and the development of new techniques that embrace both contemporary and traditional materials for treating a diverse selection of works of art on paper. Keywords: Indian miniature painting, Indian paper cutting, Japanese scroll, consolidation, loss compensation, aqueous treatment Introduction The National Gallery of Victoria (NGV) was the first Australian institution to establish an Asian Art Collection in the 1890s. Today the collection includes more than 4,000 items including Chinese, Korean and Japanese hanging and hand scrolls, Japanese folding screens, Tibetan Thangkas, Japanese woodblock prints, books, albums, and miniature paintings from India and Persia. The collection has been thoughtfully and coherently developed and contains unique and high quality objects that are of great scholarly interest (Pang 2003, p. 6). While our standard treatment practice in paper conservation at the NGV is to undertake minimal intervention, in the case of a number of works included in the exhibition The cricket and the dragon: Animals in Asian Art this approach needed to be measured against the need for the art works to be physically stable enough to be displayed and visually well integrated. Works included in the exhibition were sourced from diverse regions, from various time periods and were constructed from a myriad of different materials. One of the most fulfilling aspects of preparing for the exhibition was the opportunity to explore new conservation materials and to devise innovative treatments that incorporated both traditional and contemporary materials and techniques. The three case studies discussed in this paper demonstrate varying degrees of intervention that resulted in the reinstated aesthetic integrity and physical stability of each work. Case study 1: Indian miniature painting The collection of Rajasthani miniature paintings of the National Galley of Victoria has been described by Indian painting scholar Andrew Topsfield as ‘one of the most important of its kind outside India’ (Topsfield 1980, p. 5). The artworks were purchased from the Maharana of Mewar in 1980 and are one of the highlights of the gallery’s Asian holdings. Technically speaking, the term ‘Indian miniature painting’ indicates a type of painting specific to the Indian tradition, executed on a mobile support and characterised by very fine and detailed brushwork. The technique of Indian miniature painting uses a thick and opaque pigment layer, bound together with a gum. Even though in this respect it presents some similarities with the technique of French gouaches, it differs in that no opacifier is added to the pigments. The painting which was the object of study is part of a Ragamala series of 12 pages, executed in the Mewar sub-style and dated mid-18th century (Topsfield 1980, p. 107) (Figure 1). AICCM Bulletin Volume 32, 2011 123 Downloaded by [Elisabetta Polidori] at 18:28 27 September 2017 Traditional materials and methods of Indian miniature paintings Indian miniature paintings were created, in almost all cases, by anonymous artisans working within workshops organised with a strict division of duties. From the early 14th century, handmade paper started replacing palm leaves as the main support for miniature paintings. This paper was made from various raw materials, such as cotton, bamboo, flax, jute and locally available grass (Gupta 2006) [1]. While a single sheet of white, good quality paper was at times used, a very specific paper support of the Indian tradition is the wasli, a thick and stiff paperboard obtained by sticking two or more sheets together with flour paste. It is not uncommon to find that pages from old documents have been used to build up the wasli. This indicates that paper was considered an expensive commodity, as no piece was wasted. Before applying any pigment, wasli was dipped into a solution of alum, left to dry and heavily burnished with an agate stone (Gupta 2006). The actual execution of the miniature could then begin. The first step was the tracing of a preparatory drawing with a fine brush. Either Indian black ink or Indian red ink was used [2]. A white ground layer was applied on top, thin enough that the underdrawing was still visible. The miniature was then placed face down on a marble or glass surface and thoroughly burnished with an agate stone. After marking the outlines of the preparatory drawing with a mixture of black ink and carmine, the artist applied the pigments in layers. Usually, pigment was applied to flat, broader areas first, working gradually to the more important compositional features, such as human figures or the detail of architecture. The early traditional Indian palette was quite simple and mainly comprising inorganic pigments such as red and yellow ochres, vermilion, terre verte, carbon black, malachite, azurite and kaolin. During the Mughal period (16th–18th century), new pigments such as lead white, lapis lazuli, red lead, litharge, madder lake, indigo and Indian yellow were added (Pratapaditya 1983). Gum arabic was the most common binder. The use of animal glue has been also observed (Gupta 2006, p.7), and acacia resin seems to be preferred in combination with Indian yellow and azurite (Gupta 2006, p.7). Metals, in powder or leaf form, were often applied at the final stage of execution to enrich details of the image. Both gold and silver are commonly found on Indian miniature paintings. At a later date, tin replaced silver in this application as a consequence of the latter’s propensity to tarnish. Burnishing was performed between each application of pigments as well as at the end of the execution to compact and smooth down the paint layers. 124 Figure 1. A raga, mid 18th century, Rajasthan, India, opaque watercolour and gold paint on paper, 28.6 x 22.2 cm (image), National Gallery of Victoria, Melbourne, Felton Bequest, 1980. Image before treatment. In the case of the Ragamala painting discussed in this study, the wasli support comprises four to five layers of paper. A preparatory drawing is visible in the missing areas of white pigment. The black colour suggests that Indian black ink was used. This ink was prepared by burning oils or fats in an insufficient supply of oxygen and mixing the powder thus obtained with gum. At the NGV, UV-light [3] photography has become an integral part of the documentation of the Indian miniatures prior to treatment. This simple method of investigation provided useful information about some of the pigments used in the painting while also indicating existing damage and areas of previous restoration not otherwise visible. It was evident from this photographic examination that Indian yellow has been extensively used in the green of the vegetation. This is one of the most characteristic colours found in Indian art and was extracted from the urine of cows fed exclusively on mango leaves. Unlike any other yellow pigment, it reflects with a bright yellow colour, even when a small proportion of it is used in a mixture. Indigo was often chosen as the blue compound for green colours because its fine particles led to a better blend than inorganic pigments such as ultramarine and azurite, and because it was less expensive than these. The blue-white UV Downloaded by [Elisabetta Polidori] at 18:28 27 September 2017 Although the pressure of burnishing physically compacts the particles together, this type of bonding is not strong enough to withstand the movement of the paper support, caused by its manipulation or by changes in the ambient temperature and humidity. Moreover, some pigments, such as zinc white, do not form a flexible film and are more prone to flaking. Meanwhile, the organic binder degrades or ages, losing its adhesive strength. The miniature has also suffered several damages through mishandling. An extended loss involving all layers of wasli is visible along the right edge, and other small losses of the upper layer only are visible in the red border. Several tears, some of which are misaligned, extend from the edges of the work. In addition, two old paper hinges are adhered in the two corners, on the verso (Figure 1). Consolidation Figure 2. The Rajasthani miniature painting after treatment. fluorescence of the white areas of the painting suggests the pigment to be lead white. The arches of the architecture in the background have been enriched with a delicate pink hue. This is likely to be an organic red of insect origin, such as lac or carmine. The use of madder can be excluded since its orange-red UV fluorescence has not been revealed. Some minor details of the composition, such as parts of the clothing, are highlighted with gold. The metal, milled in powder form [4], has been applied with a small brush on the painting surface previously prepared with adhesive. The jewels and parts of costumes are in relief. This effect, commonly found on Indian miniature paintings, has been achieved by applying a delicate impasto with a small brush and covering it with white pigment. Condition prior to treatment The most important conservation issue in the present miniature was the flaking of the paint layer, particularly evident in the white pigment areas. This problem is widely found in Indian paintings and stems mainly from their inherent characteristics, such as the layered structure, the repeated burnishing and the type of medium and paint. As the support and each paint layer have been heavily burnished, the ability for the pigment to adhere on such a smooth surface is greatly reduced. To consolidate the areas of pigment loss, JunFunori® 1% w/v in deionised H2O was chosen. In the past few years, JunFunori® has been increasingly employed in the treatment of matt paint surfaces, which are particularly challenging for the conservator because of their susceptibility to optical changes (Geiger and Michel, 2005). Ethanol was applied with a traditional Indian miniature brush around the loss perimeter, in order to lower the surface tension, assist penetration and reduce drying time. Immediately afterward the consolidant was applied in the same way. JunFunori® proved to be an excellent consolidant, since it easily penetrated into the support, not leaving any gloss on the surface and effectively securing the flaking pigments from the first application. Hinge removal The painting was turned face down on a sheet of glassine. To remove the old paper hinges, Phytagel®, an agar substitute composed of glucoronic acid, rhamnose and glucose, was used [5]. Compared to other poultices such as A4M Methocel™, Phytagel® is easier to control. It releases moisture gradually and evenly on the whole treated surface, and does not leave any residue or interfere with the surface character of the paper. The gel was prepared at a concentration of 3 % w/v in deionized water. The contour of the first hinge was traced onto Mylar® and cut to size. The gel was shaped with a scalpel, using the Mylar® template as a guide, and laid on the hinge. A small piece of Mylar® and a light glass weight were placed on top, so as to encourage good contact. After 2 minutes, the hinge was easily peeled away from the miniature’s verso. The area was gently swabbed with a solution of 50/50% v/v ethanol/deionised water and immediately placed under lens tissue, blotter, and a light weight to dry. The same operation was then repeated on the other hinge. 125 Downloaded by [Elisabetta Polidori] at 18:28 27 September 2017 Figure 3. Peacock from a Portfolio of 13 Indian paper cuttings, 1821 Lucknow, India, paper, 31.9 x 15.7 cm (image and sheet), National Gallery of Victoria, Melbourne, Gift of Mrs Snodgrass, 1952. Image before treatment. Loss compensation To infill the loss extending along the right edge of the miniature, it was decided to gradually build up the repair in layers, so as to replicate the structure of the work. Using a thin metal spatula, the layers of wasli surrounding the large loss on the right-hand side were delaminated up to approximately 3 mm from the edges. A 19th century Indian paper was chosen because of its similarity in weight, colour and texture to the original. This paper, handmade of hemp with Indian traditional papermaking techniques, is supplied by Khadi papers, London. A first repair, slightly larger than the loss, was adhered on the verso of the painting with wheat starch paste and immediately placed under Hollytex®, blotter and a light weight to dry. The next repair was inserted between the first repair and the following layer of wasli. This operation was repeated until the repair was just slightly thinner than the original. To infill the last layer, the Indian paper was toned to replicate the orange colour underlying the red pigment in the border areas. As inpainting material, Winsor and Newton gouaches were chosen. Thanks to their optical proprieties, the opaque and matt surface character of the miniature was closely matched. At the same time, the difference in chemical composition to the original permits the inpainted areas to be easily detected using simple analytical techniques. Once dried, the repairs were trimmed. A final layer of gouache was applied on top, and a CarbOthello 1400/105 (STABILO) pencil was used to replicate the aged and slightly dull appearance of the miniature’s red borders. Finally, the surface of all repaired 126 areas was saturated with 4% w/v A4M Methocel™ and, once dry, lightly burnished with a traditional Indian agate burnisher so as to reproduce the slightly reflective character of the surface. In order to correctly realign the long tear running from the left edge of the painting, the layers of wasli were gently separated while dry using a very thin spatula. The upper layer was repositioned correctly and re-adhered with wheat starch paste. The same operation was carried out on the other tears, and a strip of Japanese usamino was adhered to the verso with wheat starch paste to strengthen the areas thus repaired. To infill the tears and the smallest losses, cellulose fibres toned with gouache and mixed with wheat starch paste were used. The treatment produced a pleasing outcome. The areas of pigment loss were consolidated successfully and the loss infilling returned visual integrity to the artwork, and improved its mechanical resistance (Figure 2). Case study 2: Indian paper cutting The NGV Asian Art Collection includes a booklet of 13 paper cuttings thought to originate from the Indian province of Mathura [6]. The Pro Patria watermark is present on many of the book pages, indicating the booklet may be of British origin. This assumption is supported by the fact that India was a British colony at this time and the Pro Patria watermark was used by a number of British paper mills (Bower 1990). An inscription in the booklet indicates a date from the 1820s and the presence of several ‘RM 1823’ countermarks verifies this approximate date. Downloaded by [Elisabetta Polidori] at 18:28 27 September 2017 The tradition of paper cutting in India Traditional Indian paper-cutting art dates from approximately the 16th century and is known as Devasthanakala Sanjhi. In the case of the pure Devasthanakala, the masters or usads used various tools including scissors or sharp cutting blades to create elaborate cuttings without the use of any preparatory sketches. The cutting strokes are sure-handed and it is said that ‘control of the hand that wields the tool is affected by control of the mind, and this vital control is developed by mental strength attained through meditation’ (Pramanik 2008). The tradition of creating Sanjhi is quite different from Devasthanakala Sanjhi because the design is first sketched out before being cut. If more than one copy of the design is required, several sheets of paper are pinned together and cut as one using fine curved scissors, rotating the paper stack whilst cutting. The cuttings in the NGV booklet were created using the Sanjhi technique and this is known because there are a number of small pinholes around the edges. Condition prior to treatment Each cutting in the booklet is spot adhered along the edges to variously coloured wove paper secondary supports that are attached directly to the book pages. The first image in the booklet, the peacock, was chosen by the curator for display in The Cricket and the Dragon: Animals in Asian Art (Figure 3). In India the peacock is often depicted in images of love, and a single peacock, as is depicted in the paper cutting, refers to a lover’s longing during separation (Cains 2009). Prior to treatment, the most obvious condition concerns were a large loss near the lower right corner, randomly dispersed foxing spots and edge staining which corresponded with spots of adhesive (possibly gum) used to attach the cuttings to their colourful backing papers. Pre-treatment testing It was determined that no treatment was possible while the cutting remained in the booklet. A series of solubility tests were undertaken to ensure that the green colourant in the backing paper was insoluble. Preliminary testing indicated it would be possible to soften the adhesive on the verso of the cutting through the controlled introduction of steam. The text block (excluding the front cover and the first page displaying the peacock cutting) was wrapped in polyethylene and sealed to ensure it was not affected by any moisture applied to the peacock cutting. A piece of blotter approximately 1 cm square was uniformly moistened with deionised water. The moist blotter was placed over an adhered region and a heated spatula set to 60°C was applied to the upper surface. After approximately three seconds the blotter was removed and a fine metal spatula was successfully inserted between the green backing paper and the primary support. The area was immediately dried under thin Hollytex®, blotter, glass and medium weight. Aqueous treatment The pronounced overall foxing and staining associated with adhesive residues provided ample justification for aqueous treatment. Substantial consideration was given to the most appropriate method for washing and drying the cutting, since paper dries fastest from the edges and the cutting is comprised of numerous cut edges. There was great concern that once moisture was introduced, the paper may dry at varying rates causing contortion of the sheet, resulting in tearing of the most delicate design motifs. For this reason it was decided to wash the cutting on the suction table so the overall gentle suction could hold the cutting in place, minimising differential expansion and contraction when moisture was introduced. Given the extreme fragility of the cutting, it was considered necessary to place it on a support material during washing. Several supports were tested including thin and thick Hollytex®, however thin white cotton sheeting was chosen because it allowed water droplets to pass through virtually unhindered, thus improving the efficacy of the washing while providing much-needed support. While resting on the cotton sheeting support, the cutting was humidified using deionised water emitted by a Dahlia sprayer. Due to the very compact nature of the paper used to create the cutting and its calendered surface finish, it was found that water droplets landing on the cutting had a high contact angle, tending to bead on the surface of the support rather than penetrating the fibre network. To overcome this hindrance, ethanol was added at various percentages to alter the polarity and lower the surface tension. It was found that 50/50% v/v ethanol/deionised water provided the most uniform wetting out, and once the cutting was evenly damp, it was placed on dry blotter on the suction table and washed using 100% deionised water. It was found that the highest suction setting on the table was not sufficient to hold the cutting flat, and localised lifting occurred as the cutting dried. The cutting was lifted from the table and re-humidified with 50/50% v/v ethanol/deionised water. Upon return to the table, a piece of thin Hollytex® was positioned on top and a Japanese smoothing brush was used to ensure even contact between table, cutting and Hollytex®. The improved contact resulted in more even washing and reduced the risk of mechanical damage due to uneven drying. The cutting was washed for a further 30 minutes, during which the underlying blotter was 127 changed seven times. The cutting was pressed between medium-weight Japanese tissue (smooth side adjacent to the cutting) and 4-ply mount board, under heavy weight, for two weeks. After pressing it was noted that staining was significantly reduced and there was no evidence of planar distortion. Loss compensation Downloaded by [Elisabetta Polidori] at 18:28 27 September 2017 A diverse selection of European and Indian papers were trialled for repairing losses. Queen Anne dark wove 60 gsm handmade paper was the most suitable in terms of weight and tone and the surface sheen was easily modified to match the cutting using an Indian agate burnisher. Working on a light table, the areas of loss were traced onto tracing paper and a pattern design for the filigree fill was produced by combining various design elements taken from intact areas of the cutting. The fill was shaped in the manner of the traditional Sanjhi technique, using a size 15 scalpel blade and micro-scissors. The tracing paper and fill paper were approximately 2 cm larger than required along all edges. This provided a margin for the two papers to be joined with double-sided tape. The two papers were then adhered along the edges to a sheet of glass with doublesided tape and the fill was cut directly on the glass. It proved beneficial to work from the inside of the filigree design outwards and to cut the most delicate design motifs first so the more basic elements could act as an anchor to the remainder of the fill. The edges of the fill were pared prior to attaching to the peacock cutting using small beads of wheat starch paste (Figure 4). The fills were gently pressed into position by rubbing with a horn folder through thin Hollytex® prior to weighting. Paste was applied to the same areas of the border that the gum had originally been applied and the cutting was returned to its original position in the booklet. As a result of the treatment described, the aesthetic integrity of the peacock and the surrounding floral motifs has been reinstated and the physical stability of the cutting has been enhanced by the removal of soluble degradation products (Figure 5). Case study 3: Japanese Tiger scroll The third case study to be covered in this paper is a Japanese lithograph after the artist Maruyama Okyo ( Japanese, 1733–95), produced and mounted in a Figure 4 (left). Positioning the repair in the loss. Figure 5 (below). The Indian paper cutting after treatment. 128 hanging scroll kakejiku format. The work is titled Tiger and Reflection and depicts a tiger sitting on a stone ledge, looking down into his reflection in the water below. While there is very little information about the provenance of this work, it is believed to be Meiji period (1869–1912). Downloaded by [Elisabetta Polidori] at 18:28 27 September 2017 Condition prior to treatment This scroll was in a much-damaged state when it was initially brought to the attention of conservation and required extensive treatment. The scroll arrived tightly rolled, and upon opening, it was revealed that the work was badly torn; there was a large area of loss in the upper region that spanned the entire top section; the paper was extremely brittle and had darkened being suggestive of ligneous wood-pulp fibre; and there was localised distortion with various stains and accretions (Figure 6). Treatment preparation In order to undertake pre-treatment photography, to document and assess the overall condition of the work, the scroll was carefully unrolled in sections and strapped onto a board using clear polyethylene strips and pushpins. A sheet of Hollytex® was placed between the work and the board. Loose fragments were collected and grouped according to the area of the work they were found in close proximity to. The fragment groupings were sewn into polyester tulle envelopes so that they could be washed with the main body of the work while remaining in their distinct groups. Aqueous treatment Once the scroll had been fully documented, the ink tested and a treatment program established, the work, including fragments, was humidified using a Dahlia sprayer in preparation for overall aqueous treatment. The scroll was transferred on the Hollytex® fabric into a waiting bath of deionised water that had been buffered with calcium carbonate to a pH of 7.5. The work floated for approximately five to 10 minutes, then it was fully immersed. A considerable amount of yellow/ brown degradation products flowed out of the scroll into the bath and numerous changes of the deionised water/calcium carbonate solution were necessary. The work remained in the bath for 20 minutes between each change and the pH was raised to 8.5 for the final bath. Between each change the work was placed onto blotters and varying amounts of staining were absorbed as the aqueous process progressed. Following the second bath, it became apparent that a very thin lining paper, extending over the edges of the work, was attached to the verso. The lining paper was extremely discoloured, of poor quality and in places had Figure 6. ‘Tiger and reflection’, Edo period (late 18th century), Japan, lithograph on paper, 118.0 x 51 cm (image), Private collection, Melbourne. Image before treatment. begun to separate from the primary paper sheet. The decision was made to remove this secondary support and a small sample was retained as future reference. The separate pieces of the work were lined up as accurately as possible while the work remained in the final bath (Figure 7). The grouped fragments were removed from their tulle envelopes and positioned at this time. The work was then carefully lifted from the bath and placed on the worktable. A sheet of Mylar® was positioned on the front of the work and the work was turned face down on the worktable. The Hollytex® was removed from the back of the work, which was now 129 Downloaded by [Elisabetta Polidori] at 18:28 27 September 2017 Figure 7. The Japanese painting being removed from the bath. ready to be lined. The painting was lined with a sheet of Kozo fibred Japanese paper, 18 gsm, cut slightly larger than the work. Wheat starch paste was used to attach the lining paper. A small amount of 4% w/v A4M Methocel™ was added to the paste to provide greater ‘slip’. Once lined, the final alignment of tears took place. It was found that most of the fragments could be reattached but the original location of several smaller fragments could not be determined. The lined work was placed between two pieces of Hollytex® and placed on Sympatex®, membrane side down, to enhance airflow during this initial drying phase. After 30 minutes, the work was pressed between thick blotter and woollen felts under moderate weight. After a further 30 minutes, the blotters were removed and the work was pressed between mount boards and felts under moderate weight. The following morning the work was checked, the mount boards changed and the felts removed. Mount boards were chosen as pressing material because they are considered more suitable to retain the smooth texture of the lithographic technique. Finally the work was pressed under moderate weight for one month. Loss compensation During the time the work was pressing, work was carried out to produce the infill repairs. A 100% cotton handmade wove paper produced by Ruscombe Mill was chosen. Like several other papers available from Ruscombe Mill, this paper closely replicates low-quality machine-made wove papers while being of sound archival quality. 130 As there was such a considerable area of paper support missing in the upper region, toning was carried out using an airbrush to provide evenness. Global Colours professional Artist Acrylic and Atelier Artist’s Acrylic paints in a number of colours were used to varying degrees. Atelier Gloss Medium and Varnish was applied to replicate the sheen of the heavily calendered surface finish of the original paper. During the application of colour, the paper was found to be very moisture-sensitive and expanded considerably when dampened. For this reason it was necessary to consider a non-water-soluble adhesive to attach the repairs to the original, at least in the case of the larger repairs. Both solvent and heat-activated adhesives were considered. Following discussions with conservator of photographs Pip Morrison and conservator of textiles Kate Douglas, it was decided to use Lascaux, a waterbased acrylic adhesive, with the intention that it would be activated with heat. Lascaux 360 HV and 498 HV were mixed in a 2:1 proportion [7]. Because it would be difficult to make a thin film of this substance over such a large area, it was decided to impregnate a thin silk fabric as a core mesh. Samples were tested and light but adequate adhesion was achieved with four applications of 30% acrylic emulsion in water. A natural silk crepeline fabric was chosen as a carrier. The silk was washed to remove any starch and was allowed to air-dry on a table having aligned the warp and weft threads at 90 degrees. The fabric was then taped to a photographic tray around the edges, thus suspending the fabric in the centre. The adhesive solution was applied twice to each side, allowing the initial application to dry before applying the second. Once dry, the impregnated silk fabric was placed against the non-toned side of the repair paper and gently rubbed through silicon release paper to form a slight adhesion. The artwork was removed from the press and placed on the light table. The missing area was traced and the tracing then placed on the prepared repair paper. Working with the silk side upwards and with the silicon release paper on top, the repair was shaped and bevelled according to the edges of the large loss. The repair paper was then turned over, placed silk side against the Japanese lining paper and aligned carefully in position on the light-table (Figure 8). Silicon release paper was placed on the toned repair surface and dry heat was introduced using an iron set at lowest temperature. Upon introducing heat the repair paper again proved to be very responsive and expanded. The area was immediately weighted with blotter and a sheet of glass to control this movement. Fortunately the repair paper regained its flat planar state and did not permanently distort or become misaligned. The right and left edges were trimmed, while the Downloaded by [Elisabetta Polidori] at 18:28 27 September 2017 Figure 8. Painting and repair aligned in position on the light-table. upper edge was left untrimmed to be used as a hinge within the mount. To infill the smaller areas of loss, the same toned paper and reasonably dry wheat starch paste were used. Due to their size, it was not possible to use the toned paper supported with the silk, since bevelling the edges would have caused too much loss of the adhesive of the silk lining. Upon applying the paste and positioning the repairs, the area was immediately dried under lens tissue, blotter, glass and weight. For both large and small repairs it was difficult to avoid a dark line at the edge of the repair. This relates to the thinness of the paper (lack of opacity) and the dark colourant. It was a fine balance trying to achieve a smooth graduated join while retaining sufficient opacity to prevent the dark outline. Final retouching was carried out with the work held vertically on the easel. Tiny amounts of acrylic were applied to the repairs and stippled along the tears (Figure 9). While this treatment has stabilised this work and allows it to be displayed, it remains inherently fragile due to the low quality of the paper. For this reason, even though it was originally mounted in the scroll format, it was decided to display it framed in the Western format as it is preferable to keep the work flat for its future storage, and it is deemed aesthetically acceptable for this exhibition. Conclusion Preparation for the exhibition The cricket and the dragon: animals in Asian art provided the ideal opportunity to further explore the diverse range of works on paper included in the NGV’s historic Asian Art Collection. As demonstrated by the three case studies outlined, the treatment approach in paper conservation at the NGV is multi-faceted and can involve technical examination, research to enhance understanding of various materials and techniques and collaboration with colleagues to develop an innovative treatment approach. In each case, Figure 9. The Japanese painting after treatment. 131 the treatment path followed was sympathetic to the age and origin of each work so that the historic, artistic, aesthetic and physical integrity of each work on paper was maintained. Acknowledgement The authors wish to acknowledge the assistance of Dr Mae Anna Pang, Senior Curator of Asian Art and Dr Carol Cains, curator of The cricket and the dragon: animals in Asian art, our conservation colleagues Pip Morrison and Kate Douglas, NGV photographer Selina Ou and Neil Holland, Director, Scientific Document Services Pty.Ltd. Downloaded by [Elisabetta Polidori] at 18:28 27 September 2017 Appendix 1: preparation and use of Phytagel Preparation • 3 g of Phytagel® in 97 g of deionised water • Measures of the custom-made Mylar® tray for 100 g of Phytagel®: 16 x 12 cm (base), 2 cm (edges). • Place the beaker with deionised water on a hotplate/ magnetic stirrer and heat the water at 80°C ca. • When the water reaches the temperature, pour the Phytagel into the beaker, a small quantity at a time, and activate the magnetic stirrer • Leave the Phytagel on the hotplate, stirring constantly, for about 15 minutes (time varies accordingly to the amount of Phytagel being prepared). In general, the gel is ready when it looks even and clear and all clumps are dissolved. Do not boil. • Remove the Phytagel from the hotplate and pour immediately into a custom made Mylar tray in order to obtain a layer approximately 5 mm thick. • Leave to cool for about 5 minutes. Use • Remove the gel from the Mylar container simply by opening the four corners and flattening the edges down. • If used for hinge removal, trace the hinge’s outline on Mylar and cut it on the hinge’s shape; then place the shaped Mylar on the gel and cut it using the shaped Mylar as a template. • Apply Phytagel onto the hinge. • Cover Phytagel with Mylar and gently work the surface to achieve a perfect adherence between the paper and the gel. • Cover the Mylar with a light weight. Timing depends on the nature of adhesive and the carrier. • Remove the gel in one piece from the work with a flat spatula. Since the gel is easily attacked by microorganisms, extra care has to be taken to ensure that no residues are left on the work. • Remove the hinge from the support. • Dry the treated area between tissues and blotters, and under light weights. 132 Endnotes 1 For more information about papermaking in India, refer to Premchand 1995. 2 The literature states that another method used to transfer the outline of the form was by pounding a muslin cloth filled with charcoal powder on a perforated stencil (Gupta 2006, p. 5). 3 A long-wave UV light source (320-400 nm) is used at the NGV. 4 For a description of the technique of preparation of the gold powder, refer to Gupta 2006, p. 20 and Bisht 2008, pp. 51–2. 5 For more information about Phytagel, its preparation and use, refer to Iannuccelli, Sotgiu and Missori 2004, Carrarini (ed.) and Casetti Brach (ed.) 2006. 6 This information has been provided by Indian paper cutting expert Ustad Kalakar Prabal Pramanik. 6 Extensive testing by our NGV colleague, Pip Morrison, conservator of photographs, revealed this ratio of Lascaux 360 HV and 498 HV produces a film with an ideal balance of adhesion and flexibility. References Bisht, AS 2008, Conservation of Indian Miniatures and Illustrated Manuscripts, Om Publications, New Delhi. Bower, P 1990, Turner’s Papers. A Study of the Manufacture, Selection and Use of his Drawing Papers 1787–1820, Tate Gallery Publications, London. Cains, C 2008, The cricket and the dragon: animals in Asian art, National Gallery of Victoria Publications, Melbourne. Cains, C 2009, email to Louise Wilson, 7 September 2009. Geiger, T, Michel, F 2005, ‘Studies on the Polysaccharide JunFunori Used to Consolidate Matt Paint’, Studies in Conservation vol. 50, pp. 193–204. Gupta, K. K. (2006) Restoration of Indian Miniature Paintings, Northern Book Centre, New Delhi. Iannuccelli, S, Sotgiu, S and Missori, M 2004, ‘La Chinea di Papa Clemente VIII del 1598: pulitura del supporto cartaceo, tecniche di lavaggio e diagnosi ottica dei risultati’, Lo stato dell’arte 2: conservazione e restauro, confronto di esperienze. II congresso nazionale, Genova, 27–29 Settembre 2004. Volume degli atti / IGIIC - Gruppo italiano, International Institute for Conservation, Il Prato, Saonara, pp. 124–35. Isacco, E, Darrah, J 1993, ‘The ultraviolet-infrared method of analysis: a scientific approach to the study of Indian miniatures’, Artibus Asiae 53, pp. 470–91. Libri e carte: restauri e analisi diagnostiche (2006), R Carrarini and C Casetti Brach, eds, Istituto centrale per la patologia del libro, Gangemi Editore, Rome. Pang, MA 2003, Asian Art in the International Collections of the National Gallery of Victoria, National Gallery of Victoria Publications, Melbourne. Pramanik, P 2008, Indian Traditional Paper Cutting Art Devasthanakala Sanjhi, Academy of Art Publications, Punjab. Downloaded by [Elisabetta Polidori] at 18:28 27 September 2017 Pramanik, P 2008, email to Louise Wilson, 22 May. Premchand, N 1995, Off the Deckle Edge: a paper-making journey through India, The Ankur Project, Mumbai. Pratapaditya, P 1983, Court paintings of India: 16th-19th centuries, Navin Kumar, New York. Topsfield, A 1980, Paintings from Rajasthan in the National Gallery of Victoria National Gallery of Victoria Publications, Melbourne. Materials Agate burnisher and Indian miniature brushes: Shammi Bannu, 72 Shree Vihar, J.L.N. Marg, Behind Hotel Clarks Amer, Jaipur, 302018 (Raj.), India, tel +91(141) 2272000 Blotting paper: University Products Inc., the Archival Company, email [email protected] Cotton sheeting (white), polyester tulle (white), silk crepoline (white): Lincraft, Australia on Collins, Shop 320, 303 Lt. Collins Street, Melbourne, 3000, tel (03) 9650 1609 Japanese smoothing brush and usamino repair tissue: Masumi Corporation, 4-5-2 Sugamo Toshima-ku, Tokyo, 170-0002, Japan, tel: +81(3) 3918-5401 Hollytex® (thin) and Ruscombe Mills Machine Age paper, and horn folder: Talas, 5th Floor , 20 West 20th Street, New York, NY, 10011, tel +1 212 219 0770 Japanese Kozo paper-RK 27, Paper Nao, 4-37-28 Hakusan Bunkyo-ku, Tokyo 112-001, Japan, Tel: +81(3) 3944 4470 JunFunori, Lascaux Colours & Restauro, Barbara Diethelm AG, Zürichstrasse 42, CH-8306 Brüttisellen, Switzerland, tel +41-44-807 41 41 Lascaux Acrylkleber 360HV & 498HV, The Art Scene, 914 Victoria Road, West Ryde, NSW 2114, Australia, tel: (02) 9807 6900 Metal spatula, Alec Tiranti Ltd, 3 Pipers Court, Berkshire Drive, Thatcham, Berkshire, RG19 4ER, UK, tel +44 (0) 845 123 2100 Micro-scissors: Met-App, 29 Stafford Street, Huntingdale, VIC 3166, tel (03) 9562 6582. Mylar (polyethylene terephthalate), A4M Methocel (methylcellulose) and Sympatex: Archival Survival, PO Box 2394, Hawthorne, 3122, tel 1300 78 11 99. Phytagel™ (agar substitute gelling agent), calcium carbonate and Cellulose Fibrous (medium): Sigma Aldrich, PO Box 970 Castle Hill NSW 1765, tel 1 800 800 097 Polyethylene strap: Benchmark Catalogue, PO Box 214, Rosemont, NJ 08556 USA, tel +1 609 397 1131 Queen Anne handmade paper, New York Central Art Supply, 62 Third Avenue, New York, NY, 10003, USA, tel +1 212 477 0400. Sunn hemp ledger paper: Khadi Papers, Chilgrove, Chichester, PO18 9HU, United Kingdom, tel +44(0) 1243 535 314 Tracing paper, Lascaux Acrylkleber 360 HV, Global Colours professional Artist Acrylic, Atelier Artist’s Acrylic, Atelier Glass medium and varnish: Melbourne Etching Supplies Pty Ltd, 33A St David Street, Fitzroy VIC 3065, tel (03) 9419 5666. Wheat starch (glacier): Weston Bioproducts, 89 Pinnacle Road, Altona North, 3025, tel (03) 9360 3600. Windsor & Newton gouache and Stabilo CarbOthello pencils: Senior Art Supplies, 1357 Malvern Rd, Malvern VIC 3144, tel (03) 9804 3404. Biographies Ruth Shervington graduated from Camberwell College of Arts, London in 1993 with a BA (Hons) degree in paper conservation. Ruth worked in London for three years as a paper conservator before taking up a position as Art Foundation of Victoria development conservator of paper at the National Gallery of Victoria between 1996–99. Ruth then moved into the position of paper conservator, between 1999 and 2006 and from this date onwards has been senior conservator of paper at the National Gallery of Victoria. Louise Wilson has a BA in art history from La Trobe University and a B. App.Sc. in the conservation of cultural materials, specialising in paper conservation from the University of Canberra. Louise undertook a post-graduate internship in book and paper conservation at the State Library of Victoria from 1997–98. Louise was paper conservator at the Conservation Centre in Melbourne between 1998–2002 and the Centre for Cultural Materials Conservation, University of Melbourne, from 2002–06. Louise has been conservator of paper at the National Gallery of Victoria since 2006. Elisabetta Polidori has a BA in art history from the University of Florence and a MA (Hons) in paper conservation from the Opificio delle Pietre Dure of Florence, Italy. After her graduation, Elisabetta worked in Florence for one year as a paper conservator, both privately and in collaboration with the Pitti Palace Museum. Since 2008 she has been paper conservation intern at the National Gallery of Victoria. 133