Capucine Korenberg

This work examines variations in Utagawa Hiroshige’s “The Plum Garden at Kameido” by studying 82 surviving impressions of the print. Through comparative analysis, differences were observed across printings, driven by changes in woodblocks, block wear, colourants and printing techniques. Four distinct printing ‘states’ were identified, reflecting evolving production methods and adaptations to meet commercial demands, but also woodblock wear. Early impressions preserve Hiroshige’s artistic intent more faithfully, featuring intricate printing effects, a greater number of printing steps and minimal block wear. Later states demonstrate alterations to colour schemes, reduced printing complexity, printing misalignment and woodblock anomalies, highlighting the pressures of mass production and publisher-driven decisions. Evidence of fading was observed in several impressions, indicating the original colours would have been more vibrant. This research underscores the importance of detailed analysis in understanding the material and artistic evolution of Japanese ukiyo-e prints. It offers new insights into the publication chronology of “The Plum Garden at Kameido” and calls for further studies to explore the technological, artistic and commercial factors shaping ukiyo-e printmaking. Few in-depth investigations exist that have explored the evolution of specific designs over time.

A dual-wavelength Q-switched Nd:YAG laser emitting at 1064 nm and 532 nm and an Er:YAG laser were tested on a range of feathers containing melanin, carotenoids and psittacofulvins. Dyed, white and iridescent feathers, as well as down feathers, were also included in the study. First, the damage threshold fluence was determined for each type of feather and then, as appropriate, laser tests were conducted on feathers artificially soiled with dust or carbon black. The Nd:YAG laser was unsuccessful at cleaning feathers soiled with carbon black. Better outcomes were obtained on feathers soiled with dust: the Nd:YAG laser was effective at both wavelengths at removing dust from white feathers, dyed feathers and yellow feathers containing psittacofulvins. Feathers containing melanin, as their main colourant, were found to have a much lower damage threshold fluence than other feathers. Also, laser radiation at 532 nm at high fluences can cause discolouration on pink feathers containing carotenoids. Finally, it was not possible to remove dust from down feathers without causing thermal damage. This investigation showed that laser cleaning using a Q-switched Nd:YAG laser can remove dust from certain types of feathers. However, further research is needed to assess any potential chemical or long-term effects of laser cleaning on feathers. Finally, the Er:YAG laser was found to be unsuitable for laser cleaning resulting in thermal damage to all feathers at low fluences.

A successful application of Er:YAG laser for the cleaning of a restored Assyrian relief sculpture from the British Museum collection is presented. Displayed in the gallery, the sculpture has darkened over time due to the natural deposition of dirt, in particular on restored parts. Since traditional cleaning methods have demonstrated to be unsuccessful, a scientific investigation was performed to identify the composition of the soiling and the materials used for the restoration. The analysis suggested the presence of gypsum, calcium oxalate, carbonates and alumino-silicates on the encrustation. The molded plaster, composed of lime and gypsum and pigmented aggregates, was likely prepared at the end of the 19th century to mimic the stone color. It was repainted with what was identified as a modern oil-based overpaint, applied to cover darkening during a second conservation treatment in the 20th century. Laser trials were first performed on small areas of the objects and on mock-ups to determine the critical fluence thresholds of the surface, investigated through visual examination and analyses using Fourier transform infrared spectroscopy (FTIR) and Pyrolysis-gas chromatography-mass spectrometry (Py–GC–MS). The right parameters and conditions to be used during the cleaning process were, therefore, determined. The chemical selectivity of the cleaning process allowed us to complete the treatment safely while preserving the restoration.

Research was conducted at the British Museum to investigate the potential of Er:YAG lasers to address challenging conservation problems where traditional conservation methods had failed. The approach followed was to perform laser tests on model samples and unregistered objects to determine the laser alteration threshold fluence on each substrate and the ability of the laser to remove contaminants, such as inorganic crusts and organic coatings. The effects of the laser were assessed by means of optical microscopy, scanning electron microscopy and colour measurements. If tests were successful on the samples and unregistered objects, the laser was then used on artefacts from the collection of the British Museum. This article details the successful results obtained using Er:YAG lasers for the removal of corrosion from metals, remains of old adhesives from ceramics and shells, mould from polychromed limestone and terracotta, modern overpainting and varnish from a fresco painting.

Ukiyo-e Japanese woodblock prints were mass-produced in the Edo Period and early impressions of a given print are generally of higher quality and more sought after by connoisseurs than late impressions. The present publication presents an innovative approach that combines the classical method of examining line quality with a systematic study of colourants. This approach was used to compare an impression of Hokusai’s iconic ‘Red Fuji’ with its rare variant, ‘Pink Fuji’. Woodblock wear and printing effects were studied using high resolution photographs and the colourants were characterised using non-destructive methods. Signs of greater woodblock wear were identified in ‘Red Fuji’ compared to ‘Pink Fuji’ and there were indications that much more thought had been given to the selection and application of the colourants in ‘Pink Fuji’. This showed that ‘Pink Fuji’ was printed before ‘Red Fuji’ and is possibly a first edition. The approach developed here represents a novel way of studying Japanese woodblock prints and can be used to determine the sequence of impressions of other prints.

Many museums use elements, such as baseboards and inserts, made of medium density fibreboard (MDF) inside showcases. MDF is manufactured by bonding wood fibres with a resin. It emits volatile compounds that can be harmful to a wide range of museum objects, including formaldehyde. There is currently no entirely effective method to block emissions from MDF and MDF, even sealed, should not be used in long-term displays. Because of the risk posed by formaldehyde to humans, there has been much research in the wood panel industry on the emissions from composite wood. These studies have shown that many factors such as the resin, the wood species of the fibres, the pressing temperature, time elapsed since manufacture, ambient conditions etc., affect the off-gassing of composite wood. All these factors need to be taken into consideration when selecting MDF to be used in showcases or when investigating the use of barrier films and liquid sealants to reduce emissions from MDF. Unfortunately, the findings of industrial research are not widely known in the cultural heritage sector and studies investigating mitigation strategies for MDF emissions have not taken into account these factors, leading to possibly unreliable results. The goal of this article is to review research on the emissions from MDF from a range of fields including conservation, composite wood manufacture, corrosion science, and air pollution. It includes a description of the factors governing the emissions from MDF and a critical review of strategies used to reduce these emissions.

It has long been established that wood emits volatile organic compounds that can be harmful to museum collections. An online survey was conducted to assess whether museums still used wood and composite wood inside showcases and, should this be the case, what strategies they employed to reduce the risk posed by the emissions from these materials. The survey found that the vast majority of the institutions that took part (69 out of 83) used wood or composite wood inside their showcases. Half of these institutions (34 out of 69) applied liquid coatings to those wooden components in an attempt to reduce emissions, and many of those institutions (23 out of 34) followed this approach for long-term displays despite the fact that research in the 1990s showed liquid coatings only reduce emissions for a few months, at the most. Several institutions (31 out of 69) used barrier films to seal wood and composite wood, but the integrity of the seal was sometimes compromised by stapling fabrics over the barrier f... Résumé« L’utilisation de produits à base de bois dans les vitrines : un aperçu des pratiques actuelles »Il est établi depuis longtemps que le bois émet des composés organiques volatils (COV) qui peuvent être nocifs pour les collections de musées. Un sondage en ligne a été réalisé pour évaluer si les musées utilisaient encore du bois et du bois composite dans les vitrines et, le cas échéant, quelles stratégies ils utilisaient pour réduire le risque posé par les émissions de ces matériaux. L’enquête a révélé que la grande majorité des institutions participantes (69 sur 83) utilisaient du bois ou du bois composite dans leurs vitrines. La moitié de ces établissements (34 sur 69) appliquaient des revêtements liquides sur ces composants en bois dans le but de réduire les émissions, et bon nombre de ces établissements (23 sur 34) suivaient cette approche pour des expositions à long terme malgré le fait que des recherches réalisées dans les années 1990 ont montré que les revêtements liquides ne réduisaient les ém... Zusammenfassung„Der Gebrauch von Produkten auf Holzbasis in Ausstellungsvitrinen: ein Einblick in die gegenwärtige Praxis“Es ist seit langem bekannt, dass Holz volatile organische Komponenten abgibt, die für Museumssammlungen negative Auswirkungen haben. Eine Onlinebefragung wurde durchgeführt um zu untersuchen, ob Museen noch immer Holz und Produkte auf Holzbasis innerhalb von Vitrinen einsetzen, und, sollte dies der Fall sein, welche Strategien sie ergreifen, um die Risiken, die die Emissionen für Objekte darstellen, zu minimieren. Durch die Befragung wurde festgestellt, dass die größte Mehrheit der Institutionen, die teilgenommen haben (69 von 83), Holz oder Holzverbundstoffe in ihren Vitrinen einsetzen. Die Hälfte dieser Institutionen (34 von 69) brachten flüssige Firnisse auf die Holzkomponenten auf, um zu versuchen, die Emissionen zu reduzieren und viele dieser Institutionen verfolgten diesen Ansatz auch für Langzeitausstellungen, obwohl Untersuchungen aus den 1990ern gezeigt haben, dass Flüssigbesc... Resumen“El uso de productos a base de madera en vitrinas: un examen de las prácticas actuales”Durante mucho tiempo se ha establecido que la madera emite compuestos orgánicos volátiles (VOC) que pueden ser perjudiciales para las colecciones de los museos. Se realizó una encuesta en línea para evaluar si los museos todavía usaban madera y madera compuesta dentro de las vitrinas y, si este fuera el caso, qué estrategias empleaban para reducir el riesgo que representan las emisiones de estos materiales. La encuesta encontró que la gran mayoría de las instituciones que participaron (69 de 83) usaban madera o madera compuesta dentro de sus vitrinas. La mitad de estas instituciones (34 de 69) aplicaban revestimientos líquidos a esos componentes de madera en un intento por reducir las emisiones, y muchas de esas instituciones (23 de 34), han seguido usando este enfoque para sus exhibiciones a largo plazo a pesar de que investigaciones en la década de los 90, mostraron que los recubrimientos líquidos sólo reducen ... 摘要“木质展柜及展示材料的使用——有关近期实践之见解”人们早已在关于木材会释放挥发性有机化合物（VOC）并且危害博物馆藏品上达成共识。作者进行了一项在线调查，用以评估博物馆是否仍在使用木质展柜和复合木材，以及在此情况下博物馆所采取的降低材料排放风险的策略。调查发现绝大多数参与机构（83家中有69家）在展柜内使用了木材或复合木材。这中间有一半的机构（69家中有34家）以刷涂料于木质组件的方式减少排放，虽然在上世纪九十年代已有研究表明液态涂料最多只能在几个月内减少排放，但这些机构中的很多家（34家中的23家）仍将此方法用于了长期展示。还有多家机构（69家中有31家）使用了阻隔薄膜来密封木材和复合木材组件，但在阻隔薄膜上装订织物的方式（31家中有11家机构）有时会影响到整体的密封性。调查结果显示，尽管众所周知木材和复合木材对于博物馆藏品存在风险，但仍被广泛用于了展柜中，而密封这些材料的方法往往不够全面。