Reissland, Birgit, Jaap den Hollander, Nina Wichern, and Ineke Joosten. “Introduction of Natural Red Chalk as Drawing Material to Italian Renaissance Artists.” In Disegni a Pietra Rossa. Fonti, Tecniche e Stili. 1500-1800, Florence: EDIFIR-Edizioni, p. 11-20, 2021
B. Reissland, "Black Colour Technologies for Burgundian Illuminators". In: Boulboullé, J. and S. Dupré. Burgundian Black: Reworking Early Modern Colour Technologies. Santa Barbara: EMC Imprint, 2022. https://burgundianblack.tome.press/chapter/black-colour-technologies-for-burgundian-dyers-1350-1700/, 2022
A study of black pigments available to Burgundan Illuminators revealed an astonishing abundance o... more A study of black pigments available to Burgundan Illuminators revealed an astonishing abundance of materials at hand...
B. Reissland, "A Practical Guide to the Production of Black Pigments & the Preparation of Black Watercolours, 1350-1700". In: Boulboullé, J. and S. Dupré. Burgundian Black: Reworking Early Modern Colour Technologies. Santa Barbara: EMC Imprint, https://burgundianblack.tome.press/chapter/preface/, 2022
A Practical Guide to the Production of Black Pigments & the Preparation of Black Watercolours, 13... more A Practical Guide to the Production of Black Pigments & the Preparation of Black Watercolours, 1350-1700 lists 50 black pigments, quoted in historic recipes, with their cultural-historic background and manufacture. This digital guide includes hands-on reconstruction manuals and tables to easily find a specific recipe of a black pigment and explains, how to make black watercolours in the ancient way.
Birgit Reissland, Saskia Smulders de Jong and Ineke Joosten, "Natuurlijk rood krijt: GC-MS analyse van organische componenten. RCE Research Report No. 2018-018-d. Ministry of OC&W, Cultural Heritage Agency of the Netherlands, Cultural Heritage Laboratory. Amsterdam., 2020
Since the Renaissance, artists have been drawing with red natural chalk. Not as powdery as red ea... more Since the Renaissance, artists have been drawing with red natural chalk. Not as powdery as red earth, but softer than haematite, natural red chalk has a specific cohesion that allows to draw lines without scratching the paper surface. The cause of this specific cohesion remains unclear. This part of the "Natural Red Chalk" research project explores if the presence of organic substances like bitumen might be the cause of this specific cohesion.
Pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) using tetramethyl ammonium hydroxide (5% TMAH) for thermally-assisted hydrolysis and methylation was applied but did not detect any organic components. The analysis was repeated on another sample of natural red-chalk but obtained the same negative result. Presuming that too much inorganic substrate possibly masked present organic components, a third sample was ground to powder and then suspended in pentane in order to extract hydrophobic components. The extract was subsequently analyzed with Py-GC/MS. No organic components were determined. This implies an absence of organic components in the natural red chalk samples from the Theley region. Probably, the particular cohesion is related to the presence of specific clay minerals within natural red chalk.
Wichern, Nina, Jaap den Hollander, Ineke Joosten, and Birgit Reissland. “Red Chalk: Inorganic Composition, Color Differences and Geochemical Fingerprint". RCE Research Report No. 2018-118-c, Amsterdam: Cultural Heritage Agency of the Netherlands, Cultural Heritage Laboratory, 2020
This project is part of a larger project on red chalk as drawing material for artists, carried ou... more This project is part of a larger project on red chalk as drawing material for artists, carried out at the Cultural Heritage Agency of the Netherlands and partners between 2018-2020.
Wichern, Nina, Birgit Reissland, Jaap den Hollander, and Ineke Joosten. “Red Chalk: Historic Mining Sites in Europe and Their Geological Origin". RCE Research Report No. 2018-118-b, Amsterdam: Cultural Heritage Agency of the Netherlands, Cultural Heritage Laboratory, 2020
This project report is part of a large project on natural red chalk as artist material carried ou... more This project report is part of a large project on natural red chalk as artist material carried out at the Cultural Heritage Agency of the Netherlands and partners between 2018-2020. In order to answer the question where red-chalk crayons of specific artists once came from it is necessary to determine potential historic mining sites. Printed sources were consulted to get a better insight into historic mining sites and the availability of red chalk (lat.: rubrica fabrilis) through the centuries. Geological research explained the formation of red chalk resources. A chronological insight in the location of potential mining sites for natural red chalk in Europe and adjacent regions was established by merging results of geological research and the study of historic sources.
Reissland, Birgit, Nina Wichern, Jaap den Hollander, and Ineke Joosten. “Red Chalk and other iron-oxide rich materials”. RCE Research Report No. 2018-118-a, Amsterdam: Cultural Heritage Agency of the Netherlands, Cultural Heritage Laboratory, 2020
This report covers the initial part of a large project on red chalk as historic drawing material,... more This report covers the initial part of a large project on red chalk as historic drawing material, carried out at the Cultural Heritage Agency of the Netherlands (RCE) and partners from 2018 - 2020 (RCE 2018-118-a-e). It discusses natural red chalk in the context of related materials such as iron ores, red earths and red ochres as well as fabricated crayons. Introduction in the historic terminology and basic geological information are provided.
Reissland, Birgit. “Ink Corrosion - The Side Effects Caused by Aqueous Treatments for Paper Objects.” In The Iron Gall Ink Meeting, Newcastle upon Tyne, 4th & 5th September 2000: Postprints, University of Northumbria, Jean A. J. Brown ed.. University of Northumbria, 2001
Aqueous treatments of paper objects showing signs of ink corrosion are still controversially disc... more Aqueous treatments of paper objects showing signs of ink corrosion are still controversially discussed in the paper conservation field. Such treatments offer considerable benefits, but are often accompanied by unwanted side effects especially in the case of ink corrosion. Side effects can appear directly after the treatment (immediate side effects), but can also occur after a certain period of time (long term side effects). Side effects include cracking of ink lines during immersion, colour changes of inks and papers, formation of crystals on the ink surface, and migration of soluble components (bleeding). In order to avoid such side effects it is necessary to understand their causes. For instance the pH of aqueous solutions, the presence and concentration of dissolved salts, the application method used and other parameters definitely influence the result of the washing procedure. The appropriate application of a given conservation treatment is therefore required in order to avoid unwanted changes of the object due to treatment.
Serrano, A., S. Meijer, R. van Rijn, S. Bethany Coban, B. Reissland, E. Hermens, K. J. Batenburg, and M. van Bommel. “A Non-Invasive Imaging Approach for Improved Assessments on the Construction and the Condition of Historical Knotted-Pile Carpets.” Journal of Cultural Heritage,, 2020
Wallert, Arie, Birgit Reissland, and Luc Megens. “Notes on the Material Aspects (Metal Point).” In In: An Eyckian Crucifixion Explored Ten Essays on a Drawing, 25–35. Museum Boijmans van Beuningen. Rotterdam, 2016
The recently discovered metalpoint drawing has convincingly been attributed
to Jan van Eyck or h... more The recently discovered metalpoint drawing has convincingly been attributed
to Jan van Eyck or his immediate environment.1 Measuring 254 x 187 mm, the
drawing shows a large crowd of bystanders around the Crucifixion. It bears
an obvious relationship to the left wing of a diptych by Jan van Eyck, now in
the Metropolitan Museum of Art in New York.2 A technical examination of the
sheet may shed some light on the genesis of this drawing in particular, and
workshop processes in Jan van Eyck’s studio in general. Although the drawing
has recently been the subject of technical investigations (see the appendix in
this volume), there is a need to address a number of insufficiently understood
material aspects
Reissland, Birgit, A. Nederlof, T. Meedendorp, S. de Groot, H. van Keulen, L. Megens, and B. van Velzen. “Permanent, Water-Proof and Unequalled for Outdoor Sketching, Van Gogh’s Use of Wax Crayons.” In: Van Gogh’s Studio Practice. M. Vellekoop et al. (Eds.). Amsterdam: Van Gogh Museum, p. 400-419, 2013
Van Gogh’s choice of wax-based drawing media confirms the impression that he was an unconventiona... more Van Gogh’s choice of wax-based drawing media confirms the impression that he was an unconventional pioneer, ahead of his time and his contemporaries.
Reissland, Birgit, T.G. Poulsson, H.van Keulen, I.Joosten. “Thomas Fearnley En Route: A 19th-Century Artist’s Choice of Drawing and Fixing Materials.” In Studying the European Visual Arts 1800-1850, ed. J. Townsend & A.Vandivere. CATS Proceedings, III, 2016. London: Archetype, p. 82–93., 2016
The National Museum of Art, Architecture and Design (National Museum, Oslo, Norway), owns about 7... more The National Museum of Art, Architecture and Design (National Museum, Oslo, Norway), owns about 750 drawings by Thomas Fearnley, a Norwegian romantic landscape painter. Examination of 190 pencil drawings by Fearnley enabled the identification of the drawing materials he carried on his extensive journeys through Europe. Watermark analysis confirmed that he bought his papers at local supplies and the results can serve as a basis for the attribution of drawings with unknown date to certain periods. The constant travelling on foot or in the coach required fixing of the delicate pencil drawings. Analysis using gas chromatography with mass spectrometry (GC-MS) on samples from two case studies identified milk as the fixative used by Fearnley. The different ageing behaviours of papers fixed with milk can be attributed to the presence of minute iron-containing particles. This research shed light on the material choices of itinerant artists in the first half of the 19th century and the ageing of drawings that were fixed with milk.
Reissland, Birgit, Art Proaño Gaibor, Frank Ligterink, and J.G. Neevel. “Exploring the Late 19th Century Landscape of Ink Manufacturing via a Collection of 90 Bottles” In ICOM-CC 18th Triennal Conference 2017 Copenhagen, The 18th Triennial Conference, Copenhagen 4-8 September 2017, p. 1–11, 2017
Within a research project focusing on the dramatic colour changes in Van Gogh's pen-and-ink drawi... more Within a research project focusing on the dramatic colour changes in Van Gogh's pen-and-ink drawings, interpretation of the analytical results requires a thorough understanding of late 19th-century ink manufacturing. Our laboratory had the unique opportunity to acquire a set of 90 historic ink bottles still containing ink. In this study, their chemical characterisation and the interpretation of these findings within the framework of ink manufacturing history are reported.
Reissland, Birgit. “Why Do Artists Prefer Vine or Willow Charcoal?” Journal of Paper Conservation, Vol. 15, No. 4, p. 30–35., 2014
This question already had been comprehensively studied and the results were published by William ... more This question already had been comprehensively studied and the results were published by William Lewis. Exactly 250 years ago. This paper provides an introduction to the reproduction of Lewis original paper on the subject.
Reissland, Birgit. “One Picture Says More Than a Thousand Words. A Photograph Album of the First Dutch Ink Company H. van Gimborn”, Journal of Paper Conservation, Vol. 15, No. 3, p. 20–26., 2014
Based on a photo album from the Giborn company, this article provides a unique insight into the h... more Based on a photo album from the Giborn company, this article provides a unique insight into the historical production of inks.
Confortin, Daria, J.G. Neevel, M. van Bommel, and B. Reissland. “Study of the Degradation of an Early Synthetic Dye (Crystal Violet) on Cotton Linters, Lignin and Printing Paper by the Action of UV-Vis and Vis Light ...” In The CREATE 2010, Conference Proceedings - ‘Colour Coded,’ p. 81–85. , 2010
The photofading of crystal violet (CV), one of the earliest synthetic dyes and an ink component, ... more The photofading of crystal violet (CV), one of the earliest synthetic dyes and an ink component, is examined on different paper substrates (in the presence and absence of gum arabic as an example of ink additive) via HPLC-PDA, fiber optic reflectance spectroscopy (FORS), Xenotest and microfadometer. The paper substrates chosen were pure cellulose paper, lignin containing paper and printing paper. All samples were aged both with UV-Vis in a Xenotest and with Vis light with a microfadometer ([1]). In this way the effect of visible light exposure on the dye colour was taken into consideration in order to simulate actual indoor display conditions. The objective of the work is to fill the gap between model samples of CV on whatman paper [2] and real objects (a drawing, a letter). The final goal is to shed light on the discoloration of some drawings and letters by Van Gogh originally produced with a purple ink and showing at present either brownish discoloured areas or complete loss of colour.
Nijhoff-Asser, Elizabet, Birgit Reissland, Bart J W Grob, and Eva Goetz. “Lost Fingers, Scurfy Skin and Corroding Veins - Conservation of Anatomical Papier-Mâché Models by Dr Auzoux,” ICOM Committee for Conservation, p. 285–292, 2008
The task to conserve a large collection of severely damaged 19th century polychrome papier-mâché ... more The task to conserve a large collection of severely damaged 19th century polychrome papier-mâché anatomical models by Dr Auzoux led to an interdisciplinary cooperation between conservators, scientists and art historians. Damage included loss of functionality due to missing elements, flaking of the exterior paint layers, ingrained dirt and corrosion of iron wires. This paper presents a comprehensive investigation into the history and material-technical construction of the models. Based on the results of visual assessment, binding media analysis, GC-MS, DNA analysis of the paint layers, a conservation treatment strategy was developed and successfully applied including surface cleaning, corrosion inhibition, consolidation of paint layers and reconstruction of missing parts. Treatment experiences are discussed on case studies.
Reissland, B., and Proaño Gaibor, A. (2019). "Manuscripts from Yemen 1786-1937: Analysis of glittering particles and ink composition." Cultural Heritage Agency of the Netherlands, Cultural Heritage Laboratory. Amsterdam. Research report 2016-027-b. , 2019
Until the first half of the 20th century, manuscripts were still (re)produced by professional scr... more Until the first half of the 20th century, manuscripts were still (re)produced by professional scribes in the Islamic world. This tradition slowly vanished. Handwriting has been more and more replaced by the printing technology, which was introduced much later than in Europe. In comparison with other Middle Eastern countries, the manuscript culture in Yemen was exceptionally strong, and scribes and calligraphers were still practicing their profession until the late 20th century. Besides black inks, red inks are the most important ink for writing, annotating and calligraphy in the Middle East. Therefore red inks play a prominent role within the group of coloured inks.
Four manuscripts from the Oriental collection of the Leiden University Library were selected. They all were written in Yemen and date within the first half of the 20th century. The recently developed novel method for micro-sampling ink surfaces (MOMS) was applied on red inks present. Organic ink components were identified with High-Performance Liquid Chromatography (HPLC) with a Photometric Diode Array (PDA) detector.
'Cochineal red A' a synthetic dye was found in the red ink on two manuscripts: Or. 6353a (1928) and on Or. 25744 (1937). 'Congo-red' was the synthetic dye used in the red ink of the manuscript Or. 23448 (1932). The red ink of manuscript Or. 25.745 (1936) contains several organic components (carminic acid, luteolin and several flavanoide components), suggesting that a mixture of natural red dyes was used to prepare this ink.
The majority of the red inks analysed contains a synthetic dye, proving that scribes in Yemen did not strictly adhere to their historical recipes, but used modern writing inks already in the first half of the 20th century.
Reissland, B. and Hoesel, A. (2019). Manuscripts from Yemen 1786-1937: Analysis of glittering particles and ink composition. Cultural Heritage Agency of the Netherlands, Cultural Heritage Laboratory. Amsterdam., Research Report 2016-027-a, 2019
Until the first half of the 20th century, manuscripts were still (re)produced by professional scr... more Until the first half of the 20th century, manuscripts were still (re)produced by professional scribes in the Islamic world, until handwriting was replaced by printing. Compared with other Arabic countries, scribes from Yemen were practicing their profession much longer, until the late 20th century. Some manuscripts by Yemenite Scribes show small particles, sprinkled on specific parts of text or on entire pages. Often, these particles are glittering if observed under a specific angle. To identify the nature of the particles as well as to understand their function, 11 manuscripts (dating between 1786-1937) were chosen for further research. The non-invasive XRF technique applied in situ also provided information on the applied writing inks. Therefore, identification of black and coloured writing inks was included in this study.
Particles, inks and paper of 11 manuscripts were technically examined with optical microscopy and several pages within 7 manuscripts were further analysed in situ with X-ray Fluorescence Spectroscopy (XRF). For specific identification, a few particles present on four inks were collected and analysed with Scanning-Electron Microscopy / Energy-Dispersive X-Ray spectroscopy (SEM-EDX).
The analytical results were placed in the context of traditional Middle-Eastern writing ink recipes. Based on historic recipes, five classes for black-brown Middle-Eastern inks were defined. Technical examination revealed distinctive morphological characteristics that serve as first indication of ink identification. The majority of the 15 examined black-brown writing inks belongs to the group of Carbon-based inks, two inks are Iron-tannate inks, and four inks belong to the group of Combined carbon-based / iron-tannate inks. 11 coloured inks were identified. For red inks, the scribes used red lead, natural dyes and in the first half of the 20th century also synthetic organic dyes (see supplementary report 2019-027-a). Yellow inks consisted of the poisonous arsenic-containing orpiment, still used in the 1920-1930ies. Blue and purple inks are of organic nature and were not further characterized.
The majority of examined particles has a flat, platy shape and was identified as Mica. Other particles found are a mixture of red iron-oxide powder with either sand or mica, biominerals (white sea shells or crushed egg shells), and iron particles. The distribution of the particles reveals their function: if they are applied on specific words or areas, they have a decorating function. If they are spread over entire pages or stick mainly to the lower area of a page, they were used as blotting material to decrease the drying time of freshly applied inks. Spreading of particles of small particle size (powder) needs to be taken into account for interpretation of analytical results on ink and paper composition.
Our research sheds light on the composition of writing inks as well as on the nature of glistening particles on inks in historic manuscripts from Yemen, in possession of the University Library in Leiden. Besides traditional materials, Yemenite scribes were open to use newly introduced materials, for instance inks containing synthetic dyes. The use of blotting materials was common, different materials were used. Glittering Mica-particles are predominantly applied as decorative material.
Reissland, Birgit, and Margaret Cowan. “The Light Sensitivity of Iron Gall Inks.” In Works of Art on Paper: Books, Documents and Photographs: Techniques and Conservation: Contributions to the Baltimore Congress 2-6 September 2002. London: IIC, p. 180–184, 2002
Drawings and writings composed with iron gall inks frequently undergo colour changes which range ... more Drawings and writings composed with iron gall inks frequently undergo colour changes which range from shifts in hue to extreme fading. Artificial ageing tests were carried out on ten reference iron gall inks of different iron sulphate/gallic acid ratios applied on two different types of paper. Each ink application was divided into separate samples and subjected to the following three artificial ageing procedures: humid oven ageing, light ageing, and a combination of humid oven ageing with subsequent light ageing. Colour changes in samples were determined by quantitative colour measurements with a reflected light spectrophotometer before, during, and after the artificial ageing tests. Comparison of the results indicated that our test inks were indeed light sensitive and even fall into the fugitive category. Iron gall inks that were oven aged for 3 and 6 days were more sensitive to subsequent light exposure than fresh inks or 12 days aged inks, especially in the initial light exposure period. Also, an excess of iron(II) sulphate resulted in a remarkable initial colour change. For aged inks, the colour change is caused by an increase of the lightness and the yellow hue of the inks. The colour change continues during the entire ageing period. In this article, recommendations for the exhibition policy of objects containing iron gall inks are proposed.
Reissland, Birgit, Jaap den Hollander, Nina Wichern, and Ineke Joosten. “Introduction of Natural Red Chalk as Drawing Material to Italian Renaissance Artists.” In Disegni a Pietra Rossa. Fonti, Tecniche e Stili. 1500-1800, Florence: EDIFIR-Edizioni, p. 11-20, 2021
B. Reissland, "Black Colour Technologies for Burgundian Illuminators". In: Boulboullé, J. and S. Dupré. Burgundian Black: Reworking Early Modern Colour Technologies. Santa Barbara: EMC Imprint, 2022. https://burgundianblack.tome.press/chapter/black-colour-technologies-for-burgundian-dyers-1350-1700/, 2022
A study of black pigments available to Burgundan Illuminators revealed an astonishing abundance o... more A study of black pigments available to Burgundan Illuminators revealed an astonishing abundance of materials at hand...
B. Reissland, "A Practical Guide to the Production of Black Pigments & the Preparation of Black Watercolours, 1350-1700". In: Boulboullé, J. and S. Dupré. Burgundian Black: Reworking Early Modern Colour Technologies. Santa Barbara: EMC Imprint, https://burgundianblack.tome.press/chapter/preface/, 2022
A Practical Guide to the Production of Black Pigments & the Preparation of Black Watercolours, 13... more A Practical Guide to the Production of Black Pigments & the Preparation of Black Watercolours, 1350-1700 lists 50 black pigments, quoted in historic recipes, with their cultural-historic background and manufacture. This digital guide includes hands-on reconstruction manuals and tables to easily find a specific recipe of a black pigment and explains, how to make black watercolours in the ancient way.
Birgit Reissland, Saskia Smulders de Jong and Ineke Joosten, "Natuurlijk rood krijt: GC-MS analyse van organische componenten. RCE Research Report No. 2018-018-d. Ministry of OC&W, Cultural Heritage Agency of the Netherlands, Cultural Heritage Laboratory. Amsterdam., 2020
Since the Renaissance, artists have been drawing with red natural chalk. Not as powdery as red ea... more Since the Renaissance, artists have been drawing with red natural chalk. Not as powdery as red earth, but softer than haematite, natural red chalk has a specific cohesion that allows to draw lines without scratching the paper surface. The cause of this specific cohesion remains unclear. This part of the "Natural Red Chalk" research project explores if the presence of organic substances like bitumen might be the cause of this specific cohesion.
Pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) using tetramethyl ammonium hydroxide (5% TMAH) for thermally-assisted hydrolysis and methylation was applied but did not detect any organic components. The analysis was repeated on another sample of natural red-chalk but obtained the same negative result. Presuming that too much inorganic substrate possibly masked present organic components, a third sample was ground to powder and then suspended in pentane in order to extract hydrophobic components. The extract was subsequently analyzed with Py-GC/MS. No organic components were determined. This implies an absence of organic components in the natural red chalk samples from the Theley region. Probably, the particular cohesion is related to the presence of specific clay minerals within natural red chalk.
Wichern, Nina, Jaap den Hollander, Ineke Joosten, and Birgit Reissland. “Red Chalk: Inorganic Composition, Color Differences and Geochemical Fingerprint". RCE Research Report No. 2018-118-c, Amsterdam: Cultural Heritage Agency of the Netherlands, Cultural Heritage Laboratory, 2020
This project is part of a larger project on red chalk as drawing material for artists, carried ou... more This project is part of a larger project on red chalk as drawing material for artists, carried out at the Cultural Heritage Agency of the Netherlands and partners between 2018-2020.
Wichern, Nina, Birgit Reissland, Jaap den Hollander, and Ineke Joosten. “Red Chalk: Historic Mining Sites in Europe and Their Geological Origin". RCE Research Report No. 2018-118-b, Amsterdam: Cultural Heritage Agency of the Netherlands, Cultural Heritage Laboratory, 2020
This project report is part of a large project on natural red chalk as artist material carried ou... more This project report is part of a large project on natural red chalk as artist material carried out at the Cultural Heritage Agency of the Netherlands and partners between 2018-2020. In order to answer the question where red-chalk crayons of specific artists once came from it is necessary to determine potential historic mining sites. Printed sources were consulted to get a better insight into historic mining sites and the availability of red chalk (lat.: rubrica fabrilis) through the centuries. Geological research explained the formation of red chalk resources. A chronological insight in the location of potential mining sites for natural red chalk in Europe and adjacent regions was established by merging results of geological research and the study of historic sources.
Reissland, Birgit, Nina Wichern, Jaap den Hollander, and Ineke Joosten. “Red Chalk and other iron-oxide rich materials”. RCE Research Report No. 2018-118-a, Amsterdam: Cultural Heritage Agency of the Netherlands, Cultural Heritage Laboratory, 2020
This report covers the initial part of a large project on red chalk as historic drawing material,... more This report covers the initial part of a large project on red chalk as historic drawing material, carried out at the Cultural Heritage Agency of the Netherlands (RCE) and partners from 2018 - 2020 (RCE 2018-118-a-e). It discusses natural red chalk in the context of related materials such as iron ores, red earths and red ochres as well as fabricated crayons. Introduction in the historic terminology and basic geological information are provided.
Reissland, Birgit. “Ink Corrosion - The Side Effects Caused by Aqueous Treatments for Paper Objects.” In The Iron Gall Ink Meeting, Newcastle upon Tyne, 4th & 5th September 2000: Postprints, University of Northumbria, Jean A. J. Brown ed.. University of Northumbria, 2001
Aqueous treatments of paper objects showing signs of ink corrosion are still controversially disc... more Aqueous treatments of paper objects showing signs of ink corrosion are still controversially discussed in the paper conservation field. Such treatments offer considerable benefits, but are often accompanied by unwanted side effects especially in the case of ink corrosion. Side effects can appear directly after the treatment (immediate side effects), but can also occur after a certain period of time (long term side effects). Side effects include cracking of ink lines during immersion, colour changes of inks and papers, formation of crystals on the ink surface, and migration of soluble components (bleeding). In order to avoid such side effects it is necessary to understand their causes. For instance the pH of aqueous solutions, the presence and concentration of dissolved salts, the application method used and other parameters definitely influence the result of the washing procedure. The appropriate application of a given conservation treatment is therefore required in order to avoid unwanted changes of the object due to treatment.
Serrano, A., S. Meijer, R. van Rijn, S. Bethany Coban, B. Reissland, E. Hermens, K. J. Batenburg, and M. van Bommel. “A Non-Invasive Imaging Approach for Improved Assessments on the Construction and the Condition of Historical Knotted-Pile Carpets.” Journal of Cultural Heritage,, 2020
Wallert, Arie, Birgit Reissland, and Luc Megens. “Notes on the Material Aspects (Metal Point).” In In: An Eyckian Crucifixion Explored Ten Essays on a Drawing, 25–35. Museum Boijmans van Beuningen. Rotterdam, 2016
The recently discovered metalpoint drawing has convincingly been attributed
to Jan van Eyck or h... more The recently discovered metalpoint drawing has convincingly been attributed
to Jan van Eyck or his immediate environment.1 Measuring 254 x 187 mm, the
drawing shows a large crowd of bystanders around the Crucifixion. It bears
an obvious relationship to the left wing of a diptych by Jan van Eyck, now in
the Metropolitan Museum of Art in New York.2 A technical examination of the
sheet may shed some light on the genesis of this drawing in particular, and
workshop processes in Jan van Eyck’s studio in general. Although the drawing
has recently been the subject of technical investigations (see the appendix in
this volume), there is a need to address a number of insufficiently understood
material aspects
Reissland, Birgit, A. Nederlof, T. Meedendorp, S. de Groot, H. van Keulen, L. Megens, and B. van Velzen. “Permanent, Water-Proof and Unequalled for Outdoor Sketching, Van Gogh’s Use of Wax Crayons.” In: Van Gogh’s Studio Practice. M. Vellekoop et al. (Eds.). Amsterdam: Van Gogh Museum, p. 400-419, 2013
Van Gogh’s choice of wax-based drawing media confirms the impression that he was an unconventiona... more Van Gogh’s choice of wax-based drawing media confirms the impression that he was an unconventional pioneer, ahead of his time and his contemporaries.
Reissland, Birgit, T.G. Poulsson, H.van Keulen, I.Joosten. “Thomas Fearnley En Route: A 19th-Century Artist’s Choice of Drawing and Fixing Materials.” In Studying the European Visual Arts 1800-1850, ed. J. Townsend & A.Vandivere. CATS Proceedings, III, 2016. London: Archetype, p. 82–93., 2016
The National Museum of Art, Architecture and Design (National Museum, Oslo, Norway), owns about 7... more The National Museum of Art, Architecture and Design (National Museum, Oslo, Norway), owns about 750 drawings by Thomas Fearnley, a Norwegian romantic landscape painter. Examination of 190 pencil drawings by Fearnley enabled the identification of the drawing materials he carried on his extensive journeys through Europe. Watermark analysis confirmed that he bought his papers at local supplies and the results can serve as a basis for the attribution of drawings with unknown date to certain periods. The constant travelling on foot or in the coach required fixing of the delicate pencil drawings. Analysis using gas chromatography with mass spectrometry (GC-MS) on samples from two case studies identified milk as the fixative used by Fearnley. The different ageing behaviours of papers fixed with milk can be attributed to the presence of minute iron-containing particles. This research shed light on the material choices of itinerant artists in the first half of the 19th century and the ageing of drawings that were fixed with milk.
Reissland, Birgit, Art Proaño Gaibor, Frank Ligterink, and J.G. Neevel. “Exploring the Late 19th Century Landscape of Ink Manufacturing via a Collection of 90 Bottles” In ICOM-CC 18th Triennal Conference 2017 Copenhagen, The 18th Triennial Conference, Copenhagen 4-8 September 2017, p. 1–11, 2017
Within a research project focusing on the dramatic colour changes in Van Gogh's pen-and-ink drawi... more Within a research project focusing on the dramatic colour changes in Van Gogh's pen-and-ink drawings, interpretation of the analytical results requires a thorough understanding of late 19th-century ink manufacturing. Our laboratory had the unique opportunity to acquire a set of 90 historic ink bottles still containing ink. In this study, their chemical characterisation and the interpretation of these findings within the framework of ink manufacturing history are reported.
Reissland, Birgit. “Why Do Artists Prefer Vine or Willow Charcoal?” Journal of Paper Conservation, Vol. 15, No. 4, p. 30–35., 2014
This question already had been comprehensively studied and the results were published by William ... more This question already had been comprehensively studied and the results were published by William Lewis. Exactly 250 years ago. This paper provides an introduction to the reproduction of Lewis original paper on the subject.
Reissland, Birgit. “One Picture Says More Than a Thousand Words. A Photograph Album of the First Dutch Ink Company H. van Gimborn”, Journal of Paper Conservation, Vol. 15, No. 3, p. 20–26., 2014
Based on a photo album from the Giborn company, this article provides a unique insight into the h... more Based on a photo album from the Giborn company, this article provides a unique insight into the historical production of inks.
Confortin, Daria, J.G. Neevel, M. van Bommel, and B. Reissland. “Study of the Degradation of an Early Synthetic Dye (Crystal Violet) on Cotton Linters, Lignin and Printing Paper by the Action of UV-Vis and Vis Light ...” In The CREATE 2010, Conference Proceedings - ‘Colour Coded,’ p. 81–85. , 2010
The photofading of crystal violet (CV), one of the earliest synthetic dyes and an ink component, ... more The photofading of crystal violet (CV), one of the earliest synthetic dyes and an ink component, is examined on different paper substrates (in the presence and absence of gum arabic as an example of ink additive) via HPLC-PDA, fiber optic reflectance spectroscopy (FORS), Xenotest and microfadometer. The paper substrates chosen were pure cellulose paper, lignin containing paper and printing paper. All samples were aged both with UV-Vis in a Xenotest and with Vis light with a microfadometer ([1]). In this way the effect of visible light exposure on the dye colour was taken into consideration in order to simulate actual indoor display conditions. The objective of the work is to fill the gap between model samples of CV on whatman paper [2] and real objects (a drawing, a letter). The final goal is to shed light on the discoloration of some drawings and letters by Van Gogh originally produced with a purple ink and showing at present either brownish discoloured areas or complete loss of colour.
Nijhoff-Asser, Elizabet, Birgit Reissland, Bart J W Grob, and Eva Goetz. “Lost Fingers, Scurfy Skin and Corroding Veins - Conservation of Anatomical Papier-Mâché Models by Dr Auzoux,” ICOM Committee for Conservation, p. 285–292, 2008
The task to conserve a large collection of severely damaged 19th century polychrome papier-mâché ... more The task to conserve a large collection of severely damaged 19th century polychrome papier-mâché anatomical models by Dr Auzoux led to an interdisciplinary cooperation between conservators, scientists and art historians. Damage included loss of functionality due to missing elements, flaking of the exterior paint layers, ingrained dirt and corrosion of iron wires. This paper presents a comprehensive investigation into the history and material-technical construction of the models. Based on the results of visual assessment, binding media analysis, GC-MS, DNA analysis of the paint layers, a conservation treatment strategy was developed and successfully applied including surface cleaning, corrosion inhibition, consolidation of paint layers and reconstruction of missing parts. Treatment experiences are discussed on case studies.
Reissland, B., and Proaño Gaibor, A. (2019). "Manuscripts from Yemen 1786-1937: Analysis of glittering particles and ink composition." Cultural Heritage Agency of the Netherlands, Cultural Heritage Laboratory. Amsterdam. Research report 2016-027-b. , 2019
Until the first half of the 20th century, manuscripts were still (re)produced by professional scr... more Until the first half of the 20th century, manuscripts were still (re)produced by professional scribes in the Islamic world. This tradition slowly vanished. Handwriting has been more and more replaced by the printing technology, which was introduced much later than in Europe. In comparison with other Middle Eastern countries, the manuscript culture in Yemen was exceptionally strong, and scribes and calligraphers were still practicing their profession until the late 20th century. Besides black inks, red inks are the most important ink for writing, annotating and calligraphy in the Middle East. Therefore red inks play a prominent role within the group of coloured inks.
Four manuscripts from the Oriental collection of the Leiden University Library were selected. They all were written in Yemen and date within the first half of the 20th century. The recently developed novel method for micro-sampling ink surfaces (MOMS) was applied on red inks present. Organic ink components were identified with High-Performance Liquid Chromatography (HPLC) with a Photometric Diode Array (PDA) detector.
'Cochineal red A' a synthetic dye was found in the red ink on two manuscripts: Or. 6353a (1928) and on Or. 25744 (1937). 'Congo-red' was the synthetic dye used in the red ink of the manuscript Or. 23448 (1932). The red ink of manuscript Or. 25.745 (1936) contains several organic components (carminic acid, luteolin and several flavanoide components), suggesting that a mixture of natural red dyes was used to prepare this ink.
The majority of the red inks analysed contains a synthetic dye, proving that scribes in Yemen did not strictly adhere to their historical recipes, but used modern writing inks already in the first half of the 20th century.
Reissland, B. and Hoesel, A. (2019). Manuscripts from Yemen 1786-1937: Analysis of glittering particles and ink composition. Cultural Heritage Agency of the Netherlands, Cultural Heritage Laboratory. Amsterdam., Research Report 2016-027-a, 2019
Until the first half of the 20th century, manuscripts were still (re)produced by professional scr... more Until the first half of the 20th century, manuscripts were still (re)produced by professional scribes in the Islamic world, until handwriting was replaced by printing. Compared with other Arabic countries, scribes from Yemen were practicing their profession much longer, until the late 20th century. Some manuscripts by Yemenite Scribes show small particles, sprinkled on specific parts of text or on entire pages. Often, these particles are glittering if observed under a specific angle. To identify the nature of the particles as well as to understand their function, 11 manuscripts (dating between 1786-1937) were chosen for further research. The non-invasive XRF technique applied in situ also provided information on the applied writing inks. Therefore, identification of black and coloured writing inks was included in this study.
Particles, inks and paper of 11 manuscripts were technically examined with optical microscopy and several pages within 7 manuscripts were further analysed in situ with X-ray Fluorescence Spectroscopy (XRF). For specific identification, a few particles present on four inks were collected and analysed with Scanning-Electron Microscopy / Energy-Dispersive X-Ray spectroscopy (SEM-EDX).
The analytical results were placed in the context of traditional Middle-Eastern writing ink recipes. Based on historic recipes, five classes for black-brown Middle-Eastern inks were defined. Technical examination revealed distinctive morphological characteristics that serve as first indication of ink identification. The majority of the 15 examined black-brown writing inks belongs to the group of Carbon-based inks, two inks are Iron-tannate inks, and four inks belong to the group of Combined carbon-based / iron-tannate inks. 11 coloured inks were identified. For red inks, the scribes used red lead, natural dyes and in the first half of the 20th century also synthetic organic dyes (see supplementary report 2019-027-a). Yellow inks consisted of the poisonous arsenic-containing orpiment, still used in the 1920-1930ies. Blue and purple inks are of organic nature and were not further characterized.
The majority of examined particles has a flat, platy shape and was identified as Mica. Other particles found are a mixture of red iron-oxide powder with either sand or mica, biominerals (white sea shells or crushed egg shells), and iron particles. The distribution of the particles reveals their function: if they are applied on specific words or areas, they have a decorating function. If they are spread over entire pages or stick mainly to the lower area of a page, they were used as blotting material to decrease the drying time of freshly applied inks. Spreading of particles of small particle size (powder) needs to be taken into account for interpretation of analytical results on ink and paper composition.
Our research sheds light on the composition of writing inks as well as on the nature of glistening particles on inks in historic manuscripts from Yemen, in possession of the University Library in Leiden. Besides traditional materials, Yemenite scribes were open to use newly introduced materials, for instance inks containing synthetic dyes. The use of blotting materials was common, different materials were used. Glittering Mica-particles are predominantly applied as decorative material.
Reissland, Birgit, and Margaret Cowan. “The Light Sensitivity of Iron Gall Inks.” In Works of Art on Paper: Books, Documents and Photographs: Techniques and Conservation: Contributions to the Baltimore Congress 2-6 September 2002. London: IIC, p. 180–184, 2002
Drawings and writings composed with iron gall inks frequently undergo colour changes which range ... more Drawings and writings composed with iron gall inks frequently undergo colour changes which range from shifts in hue to extreme fading. Artificial ageing tests were carried out on ten reference iron gall inks of different iron sulphate/gallic acid ratios applied on two different types of paper. Each ink application was divided into separate samples and subjected to the following three artificial ageing procedures: humid oven ageing, light ageing, and a combination of humid oven ageing with subsequent light ageing. Colour changes in samples were determined by quantitative colour measurements with a reflected light spectrophotometer before, during, and after the artificial ageing tests. Comparison of the results indicated that our test inks were indeed light sensitive and even fall into the fugitive category. Iron gall inks that were oven aged for 3 and 6 days were more sensitive to subsequent light exposure than fresh inks or 12 days aged inks, especially in the initial light exposure period. Also, an excess of iron(II) sulphate resulted in a remarkable initial colour change. For aged inks, the colour change is caused by an increase of the lightness and the yellow hue of the inks. The colour change continues during the entire ageing period. In this article, recommendations for the exhibition policy of objects containing iron gall inks are proposed.
Historical manuscripts and drawings made with iron-gall ink on paper often contain a few weak are... more Historical manuscripts and drawings made with iron-gall ink on paper often contain a few weak areas, damaged by the ink's locally degrading action. These areas are highly sensitive to further mechanical damage, especially when they already have developed cracks, ultimately leading to loss of valuable fragments. In such situations paper conservators often choose local repair techniques. In our assessment, most of the current strategies are not satisfactory. In order to provide a better alternative, we developed a new local mending strategy for ink corrosion. Typical reasons for repair failure were identified based on the systematic examination of old ink corrosion repairs, in combination with our understanding of ink corrosion damage. One important failure is the spreading of corrosive components from the ink into the surrounding paper when the water content of the adhesive is not restricted. To avoid this, we recommend the use of a re-moistenable repair tissue (allowing even the use of Berlin tissue 2 g/m 2). Applying our specially developed 'Dutch Fe-Migration Mending Test' will tell if too much water is used. Another failure is the loss of readability when the repair paper chosen is too opaque. Readability tests facilitate the choice of the repair paper's optimum transparency. Other failures are further crack propagation due to choice of unsuitable repair paper or application technique, inappropriate support due to bad adherence, formation of further cracks due to incompatibility of used materials, discolouration over time, etc. The complete mending strategy proposed here is designed to optimally avoid all identified failure scenarios while guaranteeing working fast, cost effective and safe. Specifically developed control tests are recommended to optimise the result of your local mending strategy for ink-corroded areas.
Das Versagen von Tintenfraßreparaturen: Wie Sie Ihre Technik zur lokalen Rißschließung optimieren können Manuskripte und Zeichnungen mit Eisengallustinte auf Papier weisen oft einige lokal geschwächte Stellen im Tintenbereich auf, die auf die zerstörende Wirkung der Tinte zurückzuführen sind. Diese Bereiche sind besonders anfällig für weitere Schäden, ins-besondere wenn bereits Risse vorhanden sind. Dies führt letzt-endlich zum Verlust wertvoller Fragmente. Zumeist greifen Pa-pierrestauratoren auf Techniken der lokalen Rißschließung zu-rück. Nach unserer Erfahrung sind die Ergebnisse oft nicht zufrie-denstellend. Um eine bessere Alternative anbieten zu können, haben wir eine neue, lokale Reparaturstrategie für Tintenfraß-schäden entwickelt. Basierend auf den Forschungsergebnissen zum Entstehen von Tintenfraßschäden und einer systematischen Untersuchung von Tintenfraßreparaturen wurden typische Fehlerquellen identifi-ziert. Ein wichtiger Faktor ist der Transport schädlicher Tinten-komponenten in das umgebende Papier, wenn der Klebstoff zuviel Wasser enthält. Dies kann verhindert werden, indem man das zur Rißchließung ausgewählte Japanpapier zuvor mit einer Klebstoff-schicht versieht, die später wieder aktiviert werden kann. Selbst Berlin-Tissue 2 g/m 2 kann so präpariert werden. Mit Hilfe unse-res speziell entwickelten "Niederländischen Fe-Migrationstests für Reparaturen" läßt sich die eigene Arbeitsweise optimieren. Ein weiterer Fehler ist eine verminderte Lesbarkeit, wenn das Repa-raturpapier zu opak ist. Vorherige Tests erleichtern das Festlegen der optimalen Papiertransparenz. Weitere Fehler sind eine Aus-breitung des Rißbereiches durch Wahl des falschen Japanpapiers bzw. einer ungeeigneten Applikationstechnik, schlechte Klebkraft, Inkompatibilität der verwendeten Materialien, später auftretende Verfärbungen, etc. Die hier vorgestellte Reparaturstrategie wurde entwickelt, um bei gleichzeitiger Garantie von schnellen, kosteffizienten und sicheren Arbeitsprozessen die identifizierten Fehlerquellen optimal zu vermeiden. Es wurden Kontrolltests entwickelt, um das Ergeb-nis der lokalen Reparaturtechnik für tintenfraßgeschädigte Berei-che zu optimieren.
Ask three conservators to make a treatment proposal, and you will get three different plans. In g... more Ask three conservators to make a treatment proposal, and you will get three different plans. In general the choice between treatment options depends essentially on the opinion and experience of the decision maker. Discussions between collection keeper and con-servator, if any at all, often lack to specify treatment aims. It is doubtful that decision making under such conditions will lead to optimal results. What we need is a systematic approach to evaluate different conservation options. As current risk management and value assessment strategies for cultural heritage provide useful elements for this purpose, our project aims to integrate these into a novel methodology. Taking into account initial risks, treatment efficacy as well as treatment risks (side effects) this methodology intends to enable rational, value-based treatment decisions. For our investigation we cooperated with the Dutch National Program for the Preservation of the Paper Heritage (Metamor-foze), which funds large-scale conservation projects. In a number of case study collections from the Metamorfoze program, we pursued how conservation treatment decisions were made, evaluated all treatment steps starting from preparation for digitisation, digi-tisation itself, conservation until final packaging in situ, and analysed occurring material changes in the laboratory. The results clearly elucidate the complexity of the decision making process, the difficulties to assess and discuss initial risks as well as treatment risks (side effects) and their impact on collection value. A decision making guideline has been developed to direct the involved parties throughout these complex negotiations and facilitate a structured exchange of knowledge between collection keeper and conservator from the preparation stage until the final evaluation of a conservation project.
Grundlagen für bessere Entscheidungen: Wertorientierte Entscheidungsfindung bei der Papierrestaurierung Bittet man drei Restauratoren um einen Behandlungsvorschlag, wird man drei unterschiedliche Lösungsansätze bekommen. Im Allgemeinen hängt die Entscheidung für eine bestimmte Behandlung von der Überzeugung und der Erfahrung des Entscheidungsträgers ab. Bei Diskussionen zwischen Kuratoren und Re-stauratoren werden, wenn überhaupt, oftmals keine spezifischen Behandlungsziele definiert. Es ist zweifelhaft, ob Entscheidungs-findungen unter diesen Umständen zu optimalen Ergebnissen führen. Was wir benötigen, ist ein systematischer Ansatz zur Be wertung verschiedener Behandlungsalternativen. Da derzeit entwickelte ...
12-16 October 2015 - XIIIth IADA Congress Berlin, 2015
Our knowledge on fixatives applied onto drawings is very limited since their identification requi... more Our knowledge on fixatives applied onto drawings is very limited since their identification requires specialized analytical equipment. A case-study of two pencil drawings by Thomas Fearnley gave us the unique possibility to study fixatives used by 19th century artists.
Thomas Fearnley (1802-1842) was a Norwegian romantic painter and gifted draughtsman. His short artistic life included several long journeys through Europe.
Pencil, easily available to artists since the early 19th century, was convenient for drawing and sketching outdoors. Fearnley utilized this opportunity. The National Museum of Art, Architecture and Design in Oslo possesses about 750 of Fearnley’s drawings.
Today, many of Fearnley’s drawings are badly disfigured by a fixative. Areas where the fixative was applied are either severely discoloured, or on the contrary, locally protected. This discrepancy suggested the use of different fixatives. Attempts in the 1990s to remove the fixative(s) were unsuccessful. Identification of the applied fixative(s) would allow a sound conservation strategy to be developed.
While the two drawings appeared different in day light, areas with fixative fluoresced similar in UV, 365 nm. Micro-chemical spot testing excluded starch. Gas chromatography — mass spectrometry (GC-MS), determined amino acids, galactose and glucose. No hydroxyproline was present, ruling out animal glue and, by absence of arabinose and rhamnose, Gum Arabic as well. While phosphoric acid and calcium (XRF) suggested the use of milk, neither the ratio of galactose and glucose, nor the amino acids matched lactose and casein.
Tests with cow milk on reference papers showed that analysis of surface samples was misleading since part of the milk penetrates into the paper substrate and remains there. What is left on the surface perfectly matched the results of the GC-MS analysis of both Fearnley drawings. Why one paper was protected and the other not, is not
yet established.
This was probably the first time that milk was identified as fixative on pencil drawings. This result was in agreement with various early 19th century sources, which advised the artists to use skimmed milk for this purpose. Easily available everywhere, milk was the choice of Thomas Fearnley himself when traveling and in need to protect his pencil drawings. The fixative is therefore an integral part of the artwork. Future research might reveal whether other artists applied this technique as well.
In: XIII IADA Congress Preprints, Berlin, 12-16 October 2015, ed. Birgit Reissland. International Association of Book and Paper Conservators, 2015
Identification of inks is a key priority for addressing questions of dating, attribution, and stu... more Identification of inks is a key priority for addressing questions of dating, attribution, and studio practices of drawing techniques. Also, it is essential to predict risks like ink fading, colour changes or ink corrosion. Until now, ink analysis is limited to determine the inorganic part of inks with microchemical tests, or X-ray fluorescence spectroscopy (XRF). This only allows a rough estimation of the nature of the ink: presence of iron indicates an iron-gall ink, presence of chrome a chromelogwood ink. The organic part of inks remains undetermined. In addition, coloured inks made of natural or synthetic dyes can not be identified, because an appropriate micro-sampling technique is lacking, as is an analytical technique, sensitive and reproducible enough to analyse micro-size samples.
Therefore, a new technique has been developed which significantly improves the sampling of original inks. By gently rubbing a pointed, fine grained, inert, magnesiumoxide rod onto an ink surface, a minute ink sample is obtained. The sampling area is visible only under magnification if at all. The test is immediate, cheap and easy to carry out in situ.
Taken ink samples can be examined first with XRF and Raman spectrometry, before destructive analysis is performed. Subsequently, the sample is dissolved with a
two-step extraction method and analysed with ultraperformance liquid chromatography (UPLC) attached to a photodiode array detector. The sample is compared to our reference library of late 19th century synthetic components, and natural organic colourants. In addition, self made reference inks, and 50 historic inks from ink bottles dating between 1850 and 1950 from different countries have been analysed.
The analyses have shown that historic inks from bottles often contain synthetic dyes. Studies on original manuscripts prove that the new sampling method is very easy to use. The taken sample is large enough to be analysed and gives reliable results. It is even possible to identify traces of faded inks, and to determine the colourants used in the paper-making process.
The developed techniques were used to study drawings and letters of Vincent van Gogh. Since the sampling technique is easy to apply, conservators can take samples
of inks, but also of other media like water colour, wax crayon, pastel, ball points etc. and send them to specialized laboratories for identification. This will usher in a new era of investigating the origin and history of master drawings, medieval illuminations, art on paper, and documents.
The bright purple colour and cheap price of inks containing methyl violet (MV) or crystal violet ... more The bright purple colour and cheap price of inks containing methyl violet (MV) or crystal violet (CV), both early synthetic aniline dyes from the triarylmetane group, was a reason for their consistent popularity as writing and drawing ink since the second half of the 19th century. Also, these dyes were favoured for hectograph and typewriter inks. They are still used in digital printing. Already early sources discuss the poor light fastness of aniline dyes. While Knut Hamsung's autographs and hectograph-copies have kept their bright ink-colour, Vincent van Gogh's purple drawings changed to faint brown, or even completely faded. According to historical recipes, purple inks can be subdivided into three groups: mixtures of red and blue inks, copper-containing logwood inks, and CV/MV dye inks. HPLC analysis of late 19th century purple inks identified mainly CV/MV dyes, suggesting their popularity. A study of the photo induced degradation of CV both in solution and on different paper substrates via HPLC-PDA, LC-MS and FORS indicated a rapid fading of the CV dye. To simulate fading of a drawing, a MV dye ink was applied on a Canson paper and irradiated (11,000 lux incl UV, 830 h). The image was scanned at regular intervals, assembling a fading-video. Converting the results into museum years (1 MY = 3,000 h / 50 lux) is alarming: thin applications start disappearing after 10 months, the most severe changes occur within 3,5 MY. After 380 hours of irradiation (61 MY) just a faint grayish image was left. The fading-video visualises the discolouration of a purple ani-line-ink drawing. It facilitates establishing particular exhibition policies for these sensitive objects.
Dunkelviolett: Visualisierung der alarmierend niedrigen Lichtechtheit von Kristallviolett-Tinten Der leuchtend violette Farbton und die Erschwinglichkeit von Methyl-(MV) oder Kristallviolett (KV), beides frühe synthetische Anilinfarbstoffe der Triarylmethangruppe, waren bestimmend für deren andauernde Popularität als Schreib- und Zeichentinten ab der zweiten Hälfte des 19. Jahrhunderts. Diese Farbstoffe waren auch beliebt als Kopier-und Schreibmaschinentinten. Im Digital-druck werden sie immer noch verwendet. Bereits frühe Quellen erwähnen die schlechte Lichtechtheit von Anilinfarbstoffen. Wäh-rend Knut Hamsuns Autographen und deren Kopien ihre intensive Farbe bewahrt haben, haben sich Vincent van Goghs violette Zeichnungen zu einem blaßen Braun verfärbt oder sind sogar ganz verblaßt. Gemäß historischen Rezepturen können violette Tinten in drei Gruppen unterteilt werden: Mischungen aus roten und blauen Tinten, kupferhaltige Blauholztinten sowie KV/MV-farbstoffhaltige Tinten. Eine HPLC-Analyse violetter Tinten aus dem späten 19. Jahrhundert fand vorwiegend KV/MV-Farbstoffe-ein Beweis für ihre Beliebtheit. Die Untersuchung der photoinduzierten Degradation von KV sowohl als Lösung als auch auf verschiedenen Papiersubstraten mittels HPLC-PDA, LC-MS und FORS wies auf ein rasches Verblassen des KV-Farbstoffes hin. Das Ausbleichen einer Zeichnung wurde simuliert, indem eine MV-Farbstoff-Tinte auf Canson-Papier aufgetragen und dann bestrahlt wurde (11000 lux einschl. UV, 830 Std.). Die Zeichnung wurde in regelmäßigen Abständen gescannt und ein Video des Verblassungsprozesses erstellt. Eine Umrechung der Ergebnisse in Museumsjahre (1 MJ = 3.000 Std. / 50 lux) ist alarmierend: Dünne Schichten begin-nen bereits nach zehn Monaten zu verblassen, die gravierendsten Veränderungen treten innerhalb von 3,5 MJ ein. Nach 380 Stun-den Bestrahlung (61 MJ) war nur noch ein kaum sichtbares, gräuliches Bild übrig. Das Video des Verblassungsprozesses visualisiert die Verfär-bung einer violetten Anilintintenzeichnung. Es ermöglicht die Festlegung spezieller Ausstellungsvorschriften für diese empfindlichen Objekte.
The presence of dark halos around ink lines awakens our worst fear: ink corrosion! Immediate trea... more The presence of dark halos around ink lines awakens our worst fear: ink corrosion! Immediate treatment is required ...? Financially supported by Metamorfoze, the Dutch National Program for the Preservation of Paper Heritage, RCE has developed 'The Ink-Corrosion Prognosis', a novel web tool that can be used to create a virtual prognosis of ink corrosion damage. Based on extensive investigation of original artifacts by visual analysis, microscopy, digital image analysis and verification of the results by artificial ageing experiments, an algorithm has been developed. It simulates the change of appearance of iron-gall ink manuscripts or drawings regarding the four combinations of exposure to high/ low humidity and high/low mechanical stress. Collection keepers and conservators can upload images of individual objects and decide if the predicted discoloration and loss of fragments are acceptable or do require action. The results provide evidence that ink corrosion under good environmental storage and careful handling conditions typically will not lead to severe damage. This contradicts the general believe that ink corrosion poses a major risk to all collections with iron-gall ink on paper. On the other hand, it emphasises the fact that unsafe conditions like exposure to high humidity levels, water damage and extensive handling do require our targeted response. Thanks to 'The Ink-Corrosion Prognosis' users gain better insight into the risk of ink corrosion in their collections, and are in a better position to determine whether and how to invest resources to reduce this specific risk, or perhaps focus on more urgent risks.
Tintenfraßprognose mittels Computersimulation: ein neues Instrument zur Entscheidungsfindung für Restaurierungsbehandlungen Verfärbungen rund um Tintenlinien wecken oft schlimmste Befürchtungen: Tintenfraß! Muß sofort behandelt werden ...? Mit fianzieller
From the 15th to the 19th century blotting sand was directly applied by writers on fresh ink in o... more From the 15th to the 19th century blotting sand was directly applied by writers on fresh ink in order to shorten its drying time. Blotting sand is often considered to be a disturbing material and therefore is regularly removed by paper conservators or archivists. The extent to which blotting sand should be considered to be a relevant source of historical evidence has however not yet been verified. Fifty historical blotting-sand samples were selected and identified using Scanning Electron Microscopy-Energy Dispersive X-ray Spectroscopy (SEM EDX) and X-Ray Diffraction (XRD). Historical recipes of mainly German origin were studied and reconstructed. This study revealed that a wide variety of materials ranging from brass to bone are to be found on ink surfaces. A classification system was developed to provide a standard examination procedure for the determination of blotting sand materials. Case studies proved the relevance of blotting sand as a source of historical evidence regarding dating, geographical origin and authenticity.
Streusand auf Schreibtinten: Eine unterschätzte Informationsquelle ? Vom 15. bis zum 19. Jahrhundert wurde Streusand auf frisch geschriebene Tinte gestreut, um die Trocknungszeit zu verkürzen. Streusand wird oft als störendes Material angesehen und daher regelmäßig durch Papierrestauratoren oder Archivmitarbeiter entfernt. Inwieweit Streusand eine relevante Informationsquelle darstellen kann, wurde bisher noch nicht verifiziert. 50 historische Streusand-Proben wurden ausgewählt und mit Hilfe von Scanning Electron Microscopy-Energy Dispersive X-ray Spectroscopy (SEM-EDX) sowie Röntgendiffraktion (XRD) identifiziert. Historische Rezepte vorwiegend deutscher Herkunft wurden studiert und rekonstruiert. Die Untersuchung ergab, daß eine große Materialvielfalt von Messingspänen bis hin zu Knochensplittern auf Tintenoberflächen gefunden werden kann. Ein Klassifizierungssystem wurde entwickelt, welches eine Standardmethode zur Bestimmung von Streusandmaterialien umfaßt. Fallbeispiele bewiesen die Relevanz von Streusand als Informationsquelle zur Datierung, Lokalisierung, und Autorisierung.
From the 15th to the 19th century, blotting sand was directly applied by the author on fresh ink ... more From the 15th to the 19th century, blotting sand was directly applied by the author on fresh ink in order to decrease its drying time. Blotting sand often is considered a disturbing material and therefore is regularly removed. However, in how far blotting sand should be considered as relevant source of information has not yet been verified. 30 manuscripts and 15 sand samples have been selected and identified with SEM and XRD. Historical recipes of mainly German origin were studied and reconstructed. This study revealed that a wide variety of materials ranging from brass to bone can be found on ink surfaces. A classification system has been developed providing a standard examination procedure for determination of blotting sand materials.
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Papers by Birgit Reissland
Pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) using tetramethyl ammonium hydroxide (5% TMAH) for thermally-assisted hydrolysis and methylation was applied but did not detect any organic components. The analysis was repeated on another sample of natural red-chalk but obtained the same negative result. Presuming that too much inorganic substrate possibly masked present organic components, a third sample was ground to powder and then suspended in pentane in order to extract hydrophobic components. The extract was subsequently analyzed with Py-GC/MS. No organic components were determined. This implies an absence of organic components in the natural red chalk samples from the Theley region.
Probably, the particular cohesion is related to the presence of specific clay minerals within natural red chalk.
to Jan van Eyck or his immediate environment.1 Measuring 254 x 187 mm, the
drawing shows a large crowd of bystanders around the Crucifixion. It bears
an obvious relationship to the left wing of a diptych by Jan van Eyck, now in
the Metropolitan Museum of Art in New York.2 A technical examination of the
sheet may shed some light on the genesis of this drawing in particular, and
workshop processes in Jan van Eyck’s studio in general. Although the drawing
has recently been the subject of technical investigations (see the appendix in
this volume), there is a need to address a number of insufficiently understood
material aspects
wires.
This paper presents a comprehensive investigation into the history and material-technical construction of the models. Based on the results of visual assessment, binding media analysis, GC-MS, DNA analysis of the paint layers, a conservation treatment strategy was developed and successfully applied including surface cleaning, corrosion inhibition, consolidation of paint layers and reconstruction of missing parts. Treatment experiences are discussed on case studies.
Four manuscripts from the Oriental collection of the Leiden University Library were selected. They all were written in Yemen and date within the first half of the 20th century. The recently developed novel method for micro-sampling ink surfaces (MOMS) was applied on red inks present. Organic ink components were identified with High-Performance Liquid Chromatography (HPLC) with a Photometric Diode Array (PDA) detector.
'Cochineal red A' a synthetic dye was found in the red ink on two manuscripts: Or. 6353a (1928) and on Or. 25744 (1937). 'Congo-red' was the synthetic dye used in the red ink of the manuscript Or. 23448 (1932). The red ink of manuscript Or. 25.745 (1936) contains several organic components (carminic acid, luteolin and several flavanoide components), suggesting that a mixture of natural red dyes was used to prepare this ink.
The majority of the red inks analysed contains a synthetic dye, proving that scribes in Yemen did not strictly adhere to their historical recipes, but used modern writing inks already in the first half of the 20th century.
Particles, inks and paper of 11 manuscripts were technically examined with optical microscopy and several pages within 7 manuscripts were further analysed in situ with X-ray Fluorescence Spectroscopy (XRF). For specific identification, a few particles present on four inks were collected and analysed with Scanning-Electron Microscopy / Energy-Dispersive X-Ray spectroscopy (SEM-EDX).
The analytical results were placed in the context of traditional Middle-Eastern writing ink recipes. Based on historic recipes, five classes for black-brown Middle-Eastern inks were defined. Technical examination revealed distinctive morphological characteristics that serve as first indication of ink identification. The majority of the 15 examined black-brown writing inks belongs to the group of Carbon-based inks, two inks are Iron-tannate inks, and four inks belong to the group of Combined carbon-based / iron-tannate inks. 11 coloured inks were identified. For red inks, the scribes used red lead, natural dyes and in the first half of the 20th century also synthetic organic dyes (see supplementary report 2019-027-a). Yellow inks consisted of the poisonous arsenic-containing orpiment, still used in the 1920-1930ies. Blue and purple inks are of organic nature and were not further characterized.
The majority of examined particles has a flat, platy shape and was identified as Mica. Other particles found are a mixture of red iron-oxide powder with either sand or mica, biominerals (white sea shells or crushed egg shells), and iron particles. The distribution of the particles reveals their function: if they are applied on specific words or areas, they have a decorating function. If they are spread over entire pages or stick mainly to the lower area of a page, they were used as blotting material to decrease the drying time of freshly applied inks. Spreading of particles of small particle size (powder) needs to be taken into account for interpretation of analytical results on ink and paper composition.
Our research sheds light on the composition of writing inks as well as on the nature of glistening particles on inks in historic manuscripts from Yemen, in possession of the University Library in Leiden. Besides traditional materials, Yemenite scribes were open to use newly introduced materials, for instance inks containing synthetic dyes. The use of blotting materials was common, different materials were used. Glittering Mica-particles are predominantly applied as decorative material.
Comparison of the results indicated that our test inks were indeed light sensitive and even fall into the fugitive category. Iron gall inks that were oven aged for 3 and 6 days were more sensitive to subsequent light exposure than fresh inks or 12 days aged inks, especially in the initial light exposure period. Also, an excess of iron(II) sulphate resulted in a remarkable initial colour change. For aged inks, the colour change is caused by an increase of the lightness and the yellow hue of the inks. The colour change continues during the entire ageing period. In this article, recommendations for the exhibition policy of objects containing iron gall inks are proposed.
Pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) using tetramethyl ammonium hydroxide (5% TMAH) for thermally-assisted hydrolysis and methylation was applied but did not detect any organic components. The analysis was repeated on another sample of natural red-chalk but obtained the same negative result. Presuming that too much inorganic substrate possibly masked present organic components, a third sample was ground to powder and then suspended in pentane in order to extract hydrophobic components. The extract was subsequently analyzed with Py-GC/MS. No organic components were determined. This implies an absence of organic components in the natural red chalk samples from the Theley region.
Probably, the particular cohesion is related to the presence of specific clay minerals within natural red chalk.
to Jan van Eyck or his immediate environment.1 Measuring 254 x 187 mm, the
drawing shows a large crowd of bystanders around the Crucifixion. It bears
an obvious relationship to the left wing of a diptych by Jan van Eyck, now in
the Metropolitan Museum of Art in New York.2 A technical examination of the
sheet may shed some light on the genesis of this drawing in particular, and
workshop processes in Jan van Eyck’s studio in general. Although the drawing
has recently been the subject of technical investigations (see the appendix in
this volume), there is a need to address a number of insufficiently understood
material aspects
wires.
This paper presents a comprehensive investigation into the history and material-technical construction of the models. Based on the results of visual assessment, binding media analysis, GC-MS, DNA analysis of the paint layers, a conservation treatment strategy was developed and successfully applied including surface cleaning, corrosion inhibition, consolidation of paint layers and reconstruction of missing parts. Treatment experiences are discussed on case studies.
Four manuscripts from the Oriental collection of the Leiden University Library were selected. They all were written in Yemen and date within the first half of the 20th century. The recently developed novel method for micro-sampling ink surfaces (MOMS) was applied on red inks present. Organic ink components were identified with High-Performance Liquid Chromatography (HPLC) with a Photometric Diode Array (PDA) detector.
'Cochineal red A' a synthetic dye was found in the red ink on two manuscripts: Or. 6353a (1928) and on Or. 25744 (1937). 'Congo-red' was the synthetic dye used in the red ink of the manuscript Or. 23448 (1932). The red ink of manuscript Or. 25.745 (1936) contains several organic components (carminic acid, luteolin and several flavanoide components), suggesting that a mixture of natural red dyes was used to prepare this ink.
The majority of the red inks analysed contains a synthetic dye, proving that scribes in Yemen did not strictly adhere to their historical recipes, but used modern writing inks already in the first half of the 20th century.
Particles, inks and paper of 11 manuscripts were technically examined with optical microscopy and several pages within 7 manuscripts were further analysed in situ with X-ray Fluorescence Spectroscopy (XRF). For specific identification, a few particles present on four inks were collected and analysed with Scanning-Electron Microscopy / Energy-Dispersive X-Ray spectroscopy (SEM-EDX).
The analytical results were placed in the context of traditional Middle-Eastern writing ink recipes. Based on historic recipes, five classes for black-brown Middle-Eastern inks were defined. Technical examination revealed distinctive morphological characteristics that serve as first indication of ink identification. The majority of the 15 examined black-brown writing inks belongs to the group of Carbon-based inks, two inks are Iron-tannate inks, and four inks belong to the group of Combined carbon-based / iron-tannate inks. 11 coloured inks were identified. For red inks, the scribes used red lead, natural dyes and in the first half of the 20th century also synthetic organic dyes (see supplementary report 2019-027-a). Yellow inks consisted of the poisonous arsenic-containing orpiment, still used in the 1920-1930ies. Blue and purple inks are of organic nature and were not further characterized.
The majority of examined particles has a flat, platy shape and was identified as Mica. Other particles found are a mixture of red iron-oxide powder with either sand or mica, biominerals (white sea shells or crushed egg shells), and iron particles. The distribution of the particles reveals their function: if they are applied on specific words or areas, they have a decorating function. If they are spread over entire pages or stick mainly to the lower area of a page, they were used as blotting material to decrease the drying time of freshly applied inks. Spreading of particles of small particle size (powder) needs to be taken into account for interpretation of analytical results on ink and paper composition.
Our research sheds light on the composition of writing inks as well as on the nature of glistening particles on inks in historic manuscripts from Yemen, in possession of the University Library in Leiden. Besides traditional materials, Yemenite scribes were open to use newly introduced materials, for instance inks containing synthetic dyes. The use of blotting materials was common, different materials were used. Glittering Mica-particles are predominantly applied as decorative material.
Comparison of the results indicated that our test inks were indeed light sensitive and even fall into the fugitive category. Iron gall inks that were oven aged for 3 and 6 days were more sensitive to subsequent light exposure than fresh inks or 12 days aged inks, especially in the initial light exposure period. Also, an excess of iron(II) sulphate resulted in a remarkable initial colour change. For aged inks, the colour change is caused by an increase of the lightness and the yellow hue of the inks. The colour change continues during the entire ageing period. In this article, recommendations for the exhibition policy of objects containing iron gall inks are proposed.
Das Versagen von Tintenfraßreparaturen: Wie Sie Ihre Technik zur lokalen Rißschließung optimieren können Manuskripte und Zeichnungen mit Eisengallustinte auf Papier weisen oft einige lokal geschwächte Stellen im Tintenbereich auf, die auf die zerstörende Wirkung der Tinte zurückzuführen sind. Diese Bereiche sind besonders anfällig für weitere Schäden, ins-besondere wenn bereits Risse vorhanden sind. Dies führt letzt-endlich zum Verlust wertvoller Fragmente. Zumeist greifen Pa-pierrestauratoren auf Techniken der lokalen Rißschließung zu-rück. Nach unserer Erfahrung sind die Ergebnisse oft nicht zufrie-denstellend. Um eine bessere Alternative anbieten zu können, haben wir eine neue, lokale Reparaturstrategie für Tintenfraß-schäden entwickelt. Basierend auf den Forschungsergebnissen zum Entstehen von Tintenfraßschäden und einer systematischen Untersuchung von Tintenfraßreparaturen wurden typische Fehlerquellen identifi-ziert. Ein wichtiger Faktor ist der Transport schädlicher Tinten-komponenten in das umgebende Papier, wenn der Klebstoff zuviel Wasser enthält. Dies kann verhindert werden, indem man das zur Rißchließung ausgewählte Japanpapier zuvor mit einer Klebstoff-schicht versieht, die später wieder aktiviert werden kann. Selbst Berlin-Tissue 2 g/m 2 kann so präpariert werden. Mit Hilfe unse-res speziell entwickelten "Niederländischen Fe-Migrationstests für Reparaturen" läßt sich die eigene Arbeitsweise optimieren. Ein weiterer Fehler ist eine verminderte Lesbarkeit, wenn das Repa-raturpapier zu opak ist. Vorherige Tests erleichtern das Festlegen der optimalen Papiertransparenz. Weitere Fehler sind eine Aus-breitung des Rißbereiches durch Wahl des falschen Japanpapiers bzw. einer ungeeigneten Applikationstechnik, schlechte Klebkraft, Inkompatibilität der verwendeten Materialien, später auftretende Verfärbungen, etc. Die hier vorgestellte Reparaturstrategie wurde entwickelt, um bei gleichzeitiger Garantie von schnellen, kosteffizienten und sicheren Arbeitsprozessen die identifizierten Fehlerquellen optimal zu vermeiden. Es wurden Kontrolltests entwickelt, um das Ergeb-nis der lokalen Reparaturtechnik für tintenfraßgeschädigte Berei-che zu optimieren.
Grundlagen für bessere Entscheidungen: Wertorientierte Entscheidungsfindung bei der Papierrestaurierung Bittet man drei Restauratoren um einen Behandlungsvorschlag, wird man drei unterschiedliche Lösungsansätze bekommen. Im Allgemeinen hängt die Entscheidung für eine bestimmte Behandlung von der Überzeugung und der Erfahrung des Entscheidungsträgers ab. Bei Diskussionen zwischen Kuratoren und Re-stauratoren werden, wenn überhaupt, oftmals keine spezifischen Behandlungsziele definiert. Es ist zweifelhaft, ob Entscheidungs-findungen unter diesen Umständen zu optimalen Ergebnissen führen. Was wir benötigen, ist ein systematischer Ansatz zur Be wertung verschiedener Behandlungsalternativen. Da derzeit entwickelte ...
Thomas Fearnley (1802-1842) was a Norwegian romantic painter and gifted draughtsman. His short artistic life included several long journeys through Europe.
Pencil, easily available to artists since the early 19th century, was convenient for drawing and sketching outdoors. Fearnley utilized this opportunity. The National Museum of Art, Architecture and Design in Oslo possesses about 750 of Fearnley’s drawings.
Today, many of Fearnley’s drawings are badly disfigured by a fixative. Areas where the fixative was applied are either severely discoloured, or on the contrary, locally protected. This discrepancy suggested the use of different fixatives. Attempts in the 1990s to remove the fixative(s) were unsuccessful. Identification of the applied fixative(s) would allow a sound conservation strategy to be developed.
While the two drawings appeared different in day light, areas with fixative fluoresced similar in UV, 365 nm. Micro-chemical spot testing excluded starch. Gas chromatography — mass spectrometry (GC-MS), determined amino acids, galactose and glucose. No hydroxyproline was present, ruling out animal glue and, by absence of arabinose and rhamnose, Gum Arabic as well. While phosphoric acid and calcium (XRF) suggested the use of milk, neither the ratio of galactose and glucose, nor the amino acids matched lactose and casein.
Tests with cow milk on reference papers showed that analysis of surface samples was misleading since part of the milk penetrates into the paper substrate and remains there. What is left on the surface perfectly matched the results of the GC-MS analysis of both Fearnley drawings. Why one paper was protected and the other not, is not
yet established.
This was probably the first time that milk was identified as fixative on pencil drawings. This result was in agreement with various early 19th century sources, which advised the artists to use skimmed milk for this purpose. Easily available everywhere, milk was the choice of Thomas Fearnley himself when traveling and in need to protect his pencil drawings. The fixative is therefore an integral part of the artwork. Future research might reveal whether other artists applied this technique as well.
Therefore, a new technique has been developed which significantly improves the sampling of original inks. By gently rubbing a pointed, fine grained, inert, magnesiumoxide rod onto an ink surface, a minute ink sample is obtained. The sampling area is visible only under magnification if at all. The test is immediate, cheap and easy to carry out in situ.
Taken ink samples can be examined first with XRF and Raman spectrometry, before destructive analysis is performed. Subsequently, the sample is dissolved with a
two-step extraction method and analysed with ultraperformance liquid chromatography (UPLC) attached to a photodiode array detector. The sample is compared to our reference library of late 19th century synthetic components, and natural organic colourants. In addition, self made reference inks, and 50 historic inks from ink bottles dating between 1850 and 1950 from different countries have been analysed.
The analyses have shown that historic inks from bottles often contain synthetic dyes. Studies on original manuscripts prove that the new sampling method is very easy to use. The taken sample is large enough to be analysed and gives reliable results. It is even possible to identify traces of faded inks, and to determine the colourants used in the paper-making process.
The developed techniques were used to study drawings and letters of Vincent van Gogh. Since the sampling technique is easy to apply, conservators can take samples
of inks, but also of other media like water colour, wax crayon, pastel, ball points etc. and send them to specialized laboratories for identification. This will usher in a new era of investigating the origin and history of master drawings, medieval illuminations, art on paper, and documents.
Dunkelviolett: Visualisierung der alarmierend niedrigen Lichtechtheit von Kristallviolett-Tinten Der leuchtend violette Farbton und die Erschwinglichkeit von Methyl-(MV) oder Kristallviolett (KV), beides frühe synthetische Anilinfarbstoffe der Triarylmethangruppe, waren bestimmend für deren andauernde Popularität als Schreib- und Zeichentinten ab der zweiten Hälfte des 19. Jahrhunderts. Diese Farbstoffe waren auch beliebt als Kopier-und Schreibmaschinentinten. Im Digital-druck werden sie immer noch verwendet. Bereits frühe Quellen erwähnen die schlechte Lichtechtheit von Anilinfarbstoffen. Wäh-rend Knut Hamsuns Autographen und deren Kopien ihre intensive Farbe bewahrt haben, haben sich Vincent van Goghs violette Zeichnungen zu einem blaßen Braun verfärbt oder sind sogar ganz verblaßt. Gemäß historischen Rezepturen können violette Tinten in drei Gruppen unterteilt werden: Mischungen aus roten und blauen Tinten, kupferhaltige Blauholztinten sowie KV/MV-farbstoffhaltige Tinten. Eine HPLC-Analyse violetter Tinten aus dem späten 19. Jahrhundert fand vorwiegend KV/MV-Farbstoffe-ein Beweis für ihre Beliebtheit. Die Untersuchung der photoinduzierten Degradation von KV sowohl als Lösung als auch auf verschiedenen Papiersubstraten mittels HPLC-PDA, LC-MS und FORS wies auf ein rasches Verblassen des KV-Farbstoffes hin. Das Ausbleichen einer Zeichnung wurde simuliert, indem eine MV-Farbstoff-Tinte auf Canson-Papier aufgetragen und dann bestrahlt wurde (11000 lux einschl. UV, 830 Std.). Die Zeichnung wurde in regelmäßigen Abständen gescannt und ein Video des Verblassungsprozesses erstellt. Eine Umrechung der Ergebnisse in Museumsjahre (1 MJ = 3.000 Std. / 50 lux) ist alarmierend: Dünne Schichten begin-nen bereits nach zehn Monaten zu verblassen, die gravierendsten Veränderungen treten innerhalb von 3,5 MJ ein. Nach 380 Stun-den Bestrahlung (61 MJ) war nur noch ein kaum sichtbares, gräuliches Bild übrig. Das Video des Verblassungsprozesses visualisiert die Verfär-bung einer violetten Anilintintenzeichnung. Es ermöglicht die Festlegung spezieller Ausstellungsvorschriften für diese empfindlichen Objekte.
Tintenfraßprognose mittels Computersimulation: ein neues Instrument zur Entscheidungsfindung für Restaurierungsbehandlungen Verfärbungen rund um Tintenlinien wecken oft schlimmste Befürchtungen: Tintenfraß! Muß sofort behandelt werden ...? Mit fianzieller
Streusand auf Schreibtinten: Eine unterschätzte Informationsquelle ?
Vom 15. bis zum 19. Jahrhundert wurde Streusand auf frisch geschriebene Tinte gestreut, um die Trocknungszeit zu verkürzen. Streusand wird oft als störendes Material angesehen und daher regelmäßig durch Papierrestauratoren oder Archivmitarbeiter entfernt. Inwieweit Streusand eine relevante Informationsquelle darstellen kann, wurde bisher noch nicht verifiziert. 50 historische Streusand-Proben wurden ausgewählt und mit Hilfe von Scanning Electron Microscopy-Energy Dispersive X-ray Spectroscopy (SEM-EDX) sowie Röntgendiffraktion (XRD) identifiziert. Historische Rezepte vorwiegend deutscher Herkunft wurden studiert und rekonstruiert. Die Untersuchung ergab, daß eine große Materialvielfalt von Messingspänen bis hin zu Knochensplittern auf Tintenoberflächen gefunden werden kann. Ein Klassifizierungssystem wurde entwickelt, welches eine Standardmethode zur Bestimmung von Streusandmaterialien umfaßt. Fallbeispiele bewiesen die Relevanz von Streusand als Informationsquelle zur Datierung, Lokalisierung, und Autorisierung.