Chromatic reintegration in albumen prints: testing methodologies in Calouste Gulbenkian´s albums

Keywords
Chromatic
reintegration;
CHROMATIC REINTEGRATION
IN LATE 19th CENTURY ALBUMEN
PRINTS: ANALIZING AND
TESTING DIFFERENT
METHODOLOGIES IN CALOUSTE
GULBENKIAN´S ALBUMS
Albumen prints;
19th Century Photographs;
to do an inpainting in photographs
Inpainting;
Calouste Gulbenkian´s albums.
•
coatings, emulsions, etc.
1. INTRODUCTION
•
•
Albumen print was the most used
photographic process in the second
half of the Nineteenth Century, especially between 1855 and 1895
.
[1]
Albumen prints are photographs with
two-layer structure (fig. 1): the paper
men coating with photosensitive material (silver salts) which reacts easily
Photograph conservator and Phd researcher. Universidad de Murcia. Calle Santo Cristo, 1, 30009, Murcia (ESPAÑA). [email protected]
to any change, especially in the presence of moisture [2]. For this reason, in
our treatment choice we need to be
aware of alteration factors that could
affect this photographic process, takinal. Reversibility and stability are the
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Aesthetical characteristics: tonality,
opacity, gloss, surface character or
reintegration, always thinking about
reflectance.
compatibility between original and
•
State of conservation.
added materials.
•
Materials suitable for conservation and compatibility.
The Gulbenkian’s albums contain
177 albumen prints and a small sam-
•
Solubility parameters in photo-
ple of this (about 10%) present some
graphic coatings and materials
losses in primary support. As a part
used for treatment.
of conservation treatment, we need-
•
Object purpose: exhibition, storage and preservation, use etc.
ed to restore the integrity in damaged photographs and we try to test
and choose the best option in each
case, taking into account the process
characteristics and sensitivity.
1.2. Treatment purpose
Conservation of Calouste Gulbenkian´s photo albums:
•
To restore physical and aesthetical integrity.
1.1. Before chromatic reintegration
in photographs
Abstract
Level of sensitivity.
most important criteria for chromatic
ing into account respect for the orig-
2
Type of photographic process:
structure character, materials,
support and a very thin binder albu-
Alba Guerrero
we should know:
•
To improve and to help the correct image legibility.
Chromatic reintegration or inpaint-
o test different materials and
Chromatic reintegration in photographs is an aesthetical treatment directly in original
reason, photo-albums needed a
ing could be a delicate and contro-
object that aim to fill and recover chromatically missing areas to return the correct
complete study and conservation
versial treatment that must always
methods to obtain a quality results.
reading in images. In this case study, different methodologies were applied in two pho-
treatment for its recovery and
to-albums belongs to Calouste Gulbenkian (1869-1955), an important oil businessman
valorization, including the aes-
be performed by an experienced
Asses the outcome: analysing ad-
and private art collector who was founder of Calouste Gulbenkian Museum in Lisbon
thetical context. Some dry and
conservator-restorer who takes into
vantages, disadvantages and risks.
(Portugal). These two objects containing numerous medium-large format albumen print
wet inpainting methods were
and some of them with mechanical damages and losses in albumen layer. They have a
tested and compared with the
great value for Gulbenkian ́s history and technical quality as vintage albums, with imag-
aim of interfere as little as possi-
making decisions about interventions
Inadequate environmental factors
es of Europe and the Middle East belonging to emblematic photographic studies. For this
ble in photographic stability.
in original artifacts [3]. When we need
and poor handling are the most com-
•
account all the factors, intrinsic and
extrinsic, that can influence when
1.3. Diagnosis and general damages
3
Figure 1 • Albumen print structure
Figure 2 • Loss in albumen print. Paper fibers and cracks are clearly visibles*.
mon causes of deterioration in albu-
2.2. Chromatic reintegration medium.
men prints: High humidity can cause
Watercolors, pencils, inks, anilines
cracks in albumen layer and molds,
and even, oil pigments, have been
light exposure, contaminants and bad
widely used by photographers during
quality of seccondary supports and
the history to retouch final images
mounting materials can cause fading
and give the sensation of color that
and yellowing, frequently in the edges.
could not be reached in black and
Bad handling and storage can cause
white photographs . Of course, re-
wrinkles, folds and losses (fig.2).
touching done by the photographer
[4]
and chromatic reintegration do not
follow the same principles. The first
2. MATERIALS AND METHODS
belongs to the author or photogra-
Figure 3 • Watercolours, pastels and color pencils tested.
researches, follow restoration criteria.
ment phases, inpainting is one of the
brands previously tested in other sci-
Water solubility in watercolours
In order to choose the best option,
last steps. In the two Calouste Gul-
entific studies in the area
to avoid
Windsor&Newton do not interfere
we tested four different mediums
benkian´s albums were necessary
unwanted reactions between the re-
with alcohol solubility of Klucel G in
and three brands (figure 3), classified
a total of nineteenth reintegration
touching material and the photograph.
this layer. This permit to work easily
in dry and wet methods (table 2).
interventions. First, we located the
Dry methods (color pencils, pastels)
damage photographs and loss area.
do not use water or solvents in their
Previously to chromatic medium, we
Pastels and colour pencils tested
tubes and this is because tubes have a
application. Wet methods require sol-
need to put on an isolating layer that
provided different results. Despite of
big amount of pigments and a greater
vent, in this case water, to be applied
was applied to protect losses areas
Rembrandt Pastels have a high quali-
consistency. In shadows areas, waterc-
and fixed. We tested two types of
and to help treatment reversibility if
ty like an artistic medium, we are not
olour tubes need less water quantity.
watercolours, in tube and pan .
necessary. In this case, selected iso-
recommended pastels in photograph.
In any case, humidity is a risk that must
lating media was a solution with a
They provide dificult control and
always be weighed. Under prolonged
light exposure, colors could fade.
[5]
[6]
with this medium. In some cases, pan
watercolours have less opacity than
3.1. Dry Inpainiting
pher and the other belongs to the
2.3. General procedure and inpaint-
poor grip on the area and pigment
2.1. Chromatic reintegration process
restorer. In this case, some consider-
cellulose ether in a volatile solvent
ing methodology
particles can be easily separated from
in photograph lost areas (Table 1).
ations have been based on previous
(4% Klucel-G in ethanol) in order to
minimize the amount of moisture in
the isolation layer. Not recommend-
photograph. This protection layer also
ed in cases where albumen layer is
acts as a sizing agent on exposed or
craked because pigments can be em-
abraded paper fibers
bedded and remained permanently.
Table 1 • Steps in chromatic reintegration
STEPS
After previous conservation treat-
Table 2 • Inpainting Methods
INTERVENTION
TYPE, BRAND AND METHODS TESTED
Dry Methods
PHOTOGRAPH LOST ÁREA LOCATED
Localize the missing area (coating loss - primary support).
Secondary support, paper in this case, is visible*.
ISOLATING LAYER
Protects photograph of inpainting media. Acts as a sizing
agent on abraded paper fibers. Increase the reversibility
process
Wet Methods
Rembrandt Carré Pastels
(Royal Talens)
Windsor & Newton Cotman
tube watercolours
Rembrandt Pencils
(Aquarell, Lyra Germany)
Windsor & Newton pan
watercolours
. If necessary,
[6]
Inpainting medium and technique: Watercolour, pastels, pencils, inks... Rigattino, tratteggio, puntello...
Finished technique: Ágata, Teflon burnisher, final coatings...
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4. CONCLUSIONS
Albumen prints are very sensitive
materials, above all in high relativity
we can apply an extra coat. Then, we
Colour pencils LYRA Rembrandt
humidity conditions. If wet techniques
proceed to color reintegration with
can apply totally dry, do not add hu-
are used, is desirable to limit as much
selected media (fig. 4) and more ad-
midity to photography and this is an
as posible the use of water. Despite
equate restoration technique in each
advantage. They are water soluble
with watercolours is easier to get the
case (rigattino, tratteggio, puntello
and if necessary, give the option to
desired color, in mostly cases with
etc.). Finally, improve the results and
work dry/wet. Also, allow a glossy
color pencil had good results with-
modify the surface character accord-
finish with a burnisher. Sometimes is
out the need to use water. Results
ing to photograph. In some cases, we
difficult to achieve the desired shaded
presented here may not be determi-
need to increase gloss with a Teflon
with dry methods, especially in light
native, depending on the case. They
burnisher
areas. Light stability of some colors
have been based on the author’s
has been questioned.
experience, experimental and scien-
RETOUCHING
4
Figure 4 • Chromatic reintegration in a photograph with colour pencils.
tific researches in similar studies men-
3. RESULTS AND DISCUSSION
tioned
3.2. Wet inpainting
. For a more substantiated
[7]
In all cases, we try to use reinte-
Wet methods tested have a high
results, we need to do specifical re-
gration materials for inpainting and
compatibility with isolation layers.
search and technical analysis about
Chomatic reintegration in late 19th century albumen prints
5
inpainting materials and long-term
reaction between compounds and
photographic chemistry. Conservation treatments must be preceded by
a previous research of materials used
and then, a subsequent monitoring of
environmental conditions in storage,
light exhibition parameters and avoid
long exposure periods.
REFERENCES
[1] LAVEDRINE, Bertrand, Photo-
[4] NORRIS, Debra Hess, Gutierrez,
[7] AIC WIKI. Photographic Materi-
graphs of the past: Process and preser-
Jae. Issues in the conservation of photo-
al. PMG Conservation Catalog (2009):
vation, Los Angeles:Getty Conserva-
graphs. Los Angeles: The Getty Con-
Treatment Procedures: Inpainting. Avail-
tion Institute, 2009.
servation Institute, 2010.
able at: http://www.conservation-wiki.
com/wiki/PMG_Inpainting#4.4_In-
[2] MCCABE, Constance - Coatings
[5] WILCOX, M. The Wilcox Guide to
on photographs: materials, techniques
the Best Watercolor Paints. Perth: Art-
and conservation. Washington, DC:
ways, 1991.
painting_Media [28 January 2017].
American Institute for Conservation
of Historic and Artistic Works, 2005.
[6] NORRIS, Debra Hess (compiler)
et al. Inpainting Outline, Photograph-
[3] APPELBAUM, Barbara - Conservation Treatment Methodology, London:
ic Materials Group Catalog, AIC, Wasingthon D.C., 1994.
Amazon.co.uk ltd., 2010.
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