Abstract: During the conservation treatment of Memling’s Christ with Singing and Music-making Angels, three panel paintings that are among the most monumental works in early Netherlandish art, the conservators came across insoluble surface layers containing calcium oxalates. A very thin and irregular layer of this type, hardly visible to the naked eye, was spread across the surface of all three panels. A much thicker layer forming an opaque and highly disfiguring crust that obscured the composition (Figs. 15.1 and 15.7) was locally present on areas of dark copper-containing paint, where multiple layers of old discolored coatings and accretions remained in place before the most recent cleaning. This article describes the application of a wide range of analytical techniques in order to fully understand the stratigraphy and composition of the crusts on the Memling paintings. FTIR spectroscopy in transmission and reflection mode, micro-ATR-FTIR imaging and macro-rFTIR scanning, SEM-EDX, mobile XRD, and SR-μXRD showed that the crusts contained two related Ca-based oxalate salts, whewellite and weddellite, and were separated from the original paint surface by varnish, indicating that they did not originate from degradation of the original paint but from a combination of microbial action and a thick accumulation of dirt. Supported by the results from these different analytical techniques, which when used together proved to be very effective in providing complementary information that addressed this specific conservation problem, and aided by the presence of the intermediate varnish layer(s), the conservators were able to remove most of the crusts with spectacular results.

Abstract: Wall paintings make up an important section of cultural heritage. They resemble time portals that can be used to travel back into the past and witness the life of our ancestors. In these paintings, the ancient artists depicted the different aspects of their life, such as cooking, baking, farming, manufacturing, as well as thoughts and beliefs. Unfortunately, wall paintings are susceptible to degradation over time in the form of the accumulations of dirt and deposits on the painted surfaces and loss of adhesion of the paint layers at the surface. Therefore, the removal of these deposits is one of the primary duties of conservator-restorers. Such operations are intended to restore the painted surface to a condition close enough to its original state. Since cleaning artworks may cause undesirable physicochemical alterations and is nonreversible, the proper cleaning procedure should be adopted. In this regard, numerous gels have been developed and exploited for the cleaning of various artwork surfaces. Lately, polyvinyl alcohol-borax (PVA-B) and agarose (AG) hydrogels have been widely employed as cleaning materials by conservator-restorers. However, both hydrogels have shown limitations in specific cleaning practices. In this work, we investigated a new double network hydrogel based on blending PVA-B and agarose to avoid the limitations posed by the constituting hydrogels. For this reason, a detailed characterization of the PVA–B/AG double network hydrogel was performed, including chemical structure, liquid phase retention, mechanical strength, rheological behavior, and self-healing behavior of various PVA-B/AG hydrogels. These new hydrogels revealed better properties than PVA-B and agarose hydrogels and obviated their limitations. A laboratory experiment on the removal of deteriorated Paraloid® B72 proved that the PVA-B/AG hydrogel loaded 10%/10% MEK/1-PeOH was able to remove these layers efficiently. Therefore, the hydrogel was tested on a wall painting from the Temple of Seti I in Abydos – Egypt. It removed the glossy/darkened consolidant from the wall painting and restored the original matt appearance of the painted surface. In another application on the painted ceiling of the same temple, the hydrogel was tested for removing thick soot layers. The hydrogel formulation (loaded with 5% ammonia, 0.3% ammonium carbonate, and 0.3% EDTA) removed these layers with no noticeable damage to the paint layers. In a wide-scale application of the hydrogel (loaded with 10% propylene carbonate), it removed a highly deteriorated varnish layer from a 19-c wall painting. All the traditional cleaning methods employed caused damage to the paint layers, proving that gel cleaning can be a safer cleaning alternative in some cases.

Abstract: This chapter lays out a conservation timeline, from past to future, for the Amsterdam version of Van Gogh's Sunflowers. It starts by considering the restoration history of the painting in order to assess its current physical state, and looks ahead to formulate an appropriate strategy for future conservation treatment and display. Due attention is paid to the two recorded episodes of restoration performed in 1927 and 1961 by the Dutch restorer, Jan Cornelis Traas. Based on physical and chemical investigation of Sunflowers we attempt to reconstruct what these former treatments (which are barely documented) entailed and consider the repercussions for the present condition of the painting. The former interventions by Traas also serve as a benchmark to reflect on current choices made, highlighting the extent to which ideas and methodologies have continued to evolve over the past century as conservation has moved further away from being a singularly craft-based activity to become an established historical and scientific discipline underpinned by ethical guidelines. Jan Cornelis Traas (1898–1984) As mentioned, the two main recorded interventions to the Amsterdam Sunflowers may be associated with the Dutch restorer, Jan Cornelis Traas, who treated the picture in 1927, close to the start of his career, and again in 1961, shortly before he retired. Traas was the first restorer to be appointed at the Mauritshuis in The Hague where he worked from 1931 to 1962 and treated hundreds of paintings, including iconic masterpieces such as Girl with a Pearl Earring by Johannes Vermeer. Yet despite the magnitude and importance of his restoration oeuvre, J.C. Traas (as he is usually referred to in surviving documents), has remained somewhat obscure. He is shown here in the only known surviving photograph of him at work, shortly before he retired (fig. 7.1). Unlike his illustrious contemporaries, A. Martin de Wild (1899–1969) and Helmut Ruhemann (1891–1973), for example, Traas did not publish anything, he appears to have kept no records of his work and no personal archive is known. However, the study of some newly discovered historical documents, combined with physical examination of Sunflowers and a large number of other works he treated, allows us to recover an idea of his working practices and approaches viewed within the context of his day.