Transcript Anoxic Frames at Tate

Anoxic Frames at Tate
Jacob Thomas1,2,*, Stephen Hackney1, Joyce Townsend1
1 Tate, London, UK
2 University College London, London, UK
* Corresponding author, [email protected]
Showcases Inside Out, Porto
24-26 May 2009
Showcases Inside Out, Porto
24-26 May 2009
anoxic solutions
The anoxic case design for the refitting of the American Charters of Freedom
Image credit: NIST
http://www.nist.gov/public_affairs/Charter/encasements.htm#design
The anoxic case for the Waldseemüller map
Image credit: NIST
Ahttp://www.nist.gov/public_affairs/techbeat/tb20
heat sealed barrier film bag with oxygen absorber
07_1212.htm#w-map
The original anoxic case design for the American Charters of Freedom
Image credit: NIST
NBS, 1951, Preservation of the Declaration of Independence and the
Constitution of the United States, National Bureau of Standards.
Depending on an institution’s
budget, several different
anoxic solutions are available
for display of individual highvalue objects and for bulk
storage of lower value objects.
These vary in price from a
few euros to several million
dollars.
Showcases Inside Out, Porto
24-26 May
2009
a brief history of anoxia at Tate
• early research
▫ identify objects in Tate’s collection that might benefit from anoxia
▫ develop several proof-of-concept frames
▫ conduct comparative studies of light sensitive materials
• current research
▫ design, build, and use an improved micro-fadeometer for
measuring colour change under various atmospheres
▫ define classes of objects and combinatorially prepare historically
informed samples
▫ implement high throughput headspace analysis to monitor paper
degradation markers
▫ improve upon existing frame designs to deliver a low-cost, massproduceable anoxic frame
• next steps
▫ continue research into other classes of objects
▫ begin framing paper-based objects in anoxia
Showcases Inside Out, Porto
why anoxia?
24-26 May
2009
• limit colour change of specific colorants
• limit oxidative degradation of enclosed materials
• allow for object specific micro-climates by RH
control and band-stop light filtering
• exclude exogenous pollutants and dust
• prevent water damage
• limit impact damage
• suppress RH fluctuations due to room based climate
control failure
• permit longer display periods or display in higher
light levels
Showcases Inside Out, Porto
24-26 May 2009
Showcases Inside Out, Porto
a comparative study
with oxygen
without oxygen
unaged
24-26 May
2009
Showcases Inside Out, Porto
design pressures
• aesthetics
▫ no visible valves, lines, or bellows
▫ low-profile
▫ Tate standard frame
• cost efficient
▫ suitable for objects with a range of values
• stable and maintenance-free
▫ durable and conservation grade construction
▫ 10 years lifetime between open case inspections
• easy to use
▫ no special skills required
▫ fitting and unfitting should be rapid and non-damaging
• no additional staff or resources needed
▫ mounting/fitting
▫ hanging
▫ storage
24-26 May
2009
Showcases Inside Out, Porto
evolution of frame design
24-26 May
2009
early frame design
present frame design
•
•
•
•
• pressed and welded aluminium
body
• directional valve
• butyl rubber seal
• fluorescence-based oxygen
sensors
bent perspex or aluminium body
septa for gas filling
two Beva or butyl seals per unit
colorimetric oxygen sensors
Showcases Inside Out, Porto
historical and experimental evidence
no difference between anoxia
and 21% oxygen
reduced colour change under anoxia
a
Alizarin crimson, Orpiment
b
a
increased colour change in
anoxia
Chrome deep,a Realgara
b
b
b
b
24-26 May 2009
Prussian blue,a Antwerp bluea
b
Madder/potash, Yellow lake, Powdered kermes, Madder lake, Carmine, Eosine, Dragon's
b
b
b
b
b
b
b
b
blood, Cochineal, Lac/alum, Bitumen, Brazilwood, Gummigut, Lac/lake, Quercitron lake,
b
b
b
b
b
b
Prussian blue,b Rhodamine,b
Gamboge, Saffron, Brazilwood/potash, Alizarin Crimson, Lac/potash, Indian lake,
b
b
b
b
b
Cinnebar,b Indian yellow,b Emerald
Magenta, Purple madder, Brazilwwod/lake, Realgar powder, Lac/no mordant, Naples
b
b
b
b
b
b
b
green,b Indigob
yellow, Lithol red, Muave, Sepia, Orpiment, Madder/no mordant, Madder/alum,
b
b
Brazilwood/alum, Brazilwood/no mordant
Red lead,b Verdigris,b Rose
madderb
j
Several different indigo preparations
c
e
c
Blue wool L2, Xenon reference fabric, Fustic, Tumeric
a
a
Blue wool L6,c Indigo,c Fluorescent
yellowd
Malachite,b,k Azurite,b,k Vermilion,b,k
Iron oxide red,b,k Yellow ocher,b,k
Hematite,b,k White lead,b,k Indigob,k
c
a
Fluorescent pinkd
Red lead,b,k* Massicot,b,k*
a
Magenta (rasaniline, fuchsine), Archil (orchil), Brazil wood, Saffron, Yellow Persian berry
a
a
lake (sap yellow, buckthorn yellow, stil de grain vert), Green Persian berry lake (sap green)
f
g
f
a
d
Carmine, Green felt pen (acidic triphenylmethane), Geranium lake, Alizarin, Gamboge, ISO
c
c
g
a
a
Blue 2, ISO Blue 1, Yellow felt pen (acidic triphenyl methane), Gamboge, Mauve, Red felt
g
a
d
d
f
pen (acidic triphenylmethane), Carmine, Purpurine, Carmine, Alizarin
h
h
C.I. Basic Blue 3 (oxazine), C.I. Basic Orange 22 (methin), C.I. basic Blue 18
h
h
h
(triphenylmethane), C.I. Basic Blue 12 (oxazine), Astra Violet FN Extra (methin), C.I. Basic
h
Blue 26 (triphenylmethane)
a
a
a
a
a
a
Carmine, Crimson lake, Scarlet lake, Rose madder, Madder lake, Brown madder,
a
a
a
a
a
a
Gamboge, Aurleolin, Cadmium yellow, Yellow Ochre, Naples yellow, Indian yellow,
a
a
a
a
a
Emerald green, Olive green, Indigo blue, Leitches blue (cyanin), Permanent blue, Paynes
a
a
a
a
grey, Vandyke brown, Burnt umber, Brown pink,
i
Malachite,b Cinnebar,b
Vermillion azo,f Prussian bluef
Diazacyanine blue,h*
Diazacyanine yellowh*
a
a
a
Vermillion, Indian red, Venetian Red,
a
a
Burnt sienna, Chrome yellow, Lemon
a
a
a
yellow, Raw sienna, Terra verte,
a
a
Chrome oxide, Cobalt blue, French
a
a
a
blue, Ultrmarine ash, Violet carmine,
a
a
a
purple carmine, purple madder, sepia
i
Tumeric, Annatto
a) pigment in gum Arabic
b) pigment without binding media
c) dye on wool
d) dye on cellulose
e) dye on polyester
f) oil paint with flake white extender
Red lead,b Sienna,b Lithargeb
Prussian blue,a* Aureolin,a*
Cadmium yellow,a* Naples
yellow,a* Indian yellow,a*
Emerald green,a* Olive green,a*
Antwerp blue,a* Leichtes blue
(cyanin),a* Brown pink,a*
Prussian bluei
g) pen on paper
h) dye on cotton, viscose rayon, cellulose acetate, silk, wool, and orlon
i) dye on cotton, silk and wool
j) dye on cotton
k) pigment in glue
* indicates that colour change is increased in anoxia in the presence of moisture
Showcases Inside Out, Porto
historically informed reproductions
and high throughput screening
24-26 May 2009
Showcases Inside Out, Porto
24-26 May 2009
real objects and
real problems
•access
•quality control
•storage
•handling and hanging
•transport
•endogenous pollutants
•increased fading of some
colorants
Showcases Inside Out, Porto
24-26 May 2009