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The influence of paper type and state of degradation on laser cleaning of artificially soiled paper
(2011)
Lasers can be a supplemental tool for restorers to overcome some of the limitations of traditional dry cleaning techniques for works of art on paper. The laser working range has to be optimized allowing for safe removal of contamination and limitation of damage to the substrate. This paper addresses the influence of paper type and state of degradation on laser working range. Three types of new paper (pure cellulose, bleached pulp paper, rag paper) were degraded and characterized with respect their degree of polymerization. Laser-induced damage thresholds of new and degraded paper were determined using SEM and viscometry. Additionally, artificially soiled model samples were made using two kinds of soiling, namely pulverized charcoal and soot-blackened standard test dust. Cleaning thresholds of soiled paper samples were evaluated. A working range for all combinations of paper and soiling between 0.05 J/cm2 and 0.5 J/cm2 was found for the application of 8-ns laser pulses at 532 nm wavelength.
Cleaning of artificially soiled paper using nanosecond, picosecond and femtosecond laser pulses
(2010)
Cleaning of cultural assets, especially fragile
organic materials like paper, is a part of the conservation
process. Laser radiation as a non-contact tool offers
prospects for that purpose. For the studies presented here,
paper model samples were prepared using three different paper
types (pure cellulose, rag paper, and wood-pulp paper).
Pure cellulose serves as reference material. Rag and woodpulp
paper represent essential characteristics of the basic
materials of real-world artworks. The papers were mechanically
soiled employing pulverized charcoal. Pure and artificially soiled paper samples were treated with laser pulses of
28 fs (800 nm wavelength) and 8–12 ns (532 nm) duration in
a multi pulse approach. Additionally, the cellulose reference
material was processed with 30 ps (532 nm) laser pulses.
Damage and cleaning thresholds of pure and soiled paper
were determined for the different laser regimes. Laser working
ranges allowing for removal of contamination and avoiding
permanent modification to the substrate were found.
The specimens prior and after laser illumination were characterized
by light-optical microscopy (OM) and scanning
electron microscopy (SEM) as well as multi spectral imaging
analysis. The work extends previous nanosecond laser
cleaning investigations on paper into the ultra-short pulse
duration domain.
Paper is one of the most important materials representing and witnessing human culture particularly as a carrier medium for text and image. As soiling hampers the reception of information, paper cleaning techniques are needed. Traditional mechanical and chemical cleaning methods are used by conservator-restorers. In some cases, a classical cleaning procedure of paper objects yields unsatisfactory results or a conventional treatment is even impossible. Especially, fragile paper objects cause problems due to mechanical instabilities. Laser cleaning as a non-contact method might be a way to overcome some of the limitations of classical cleaning techniques. Laser parameters have to be chosen to achieve removal of the soiling without influencing the artwork. Any immediate as well as long-term effects causing an irreversible change of the artwork have to be avoided. At present, most laser applications are found in stone and metal conservation, while laser treatment of complex organic materials like paper is still not fully developed for application in conservators' workshops. This contribution describes recent work of pulsed laser cleaning of soiled model samples. Pure cellulose, rag paper and wood-pulp paper were mechanically soiled with pulverized charcoal in a standardized procedure to make model samples representing essential characteristics of contaminated real-world artworks. Afterwards, model samples were cleaned using short and ultrashort laser pulses in the nanosecond and femtosecond time domain, respectively. An extensive analysis of the model samples after laser treatment using an optical microscope and a multi-spectral imaging system allows a comparison of the cleaning results obtained with both laser sources.
The great variety of manuscripts found in the Turfan oasis at the Start of the twentieth Century by Grünwedel and Le Coq reflects the cultural backgrounds of, and communication among, the people who travelled along the network of Eurasian trade routes. Specifically, this Connection is directly reflected by the use and distribution of inks, pigments, and papers. Research is now underway to examine these and a report on the initial findings is given below.
Cleaning of paper is a challenging task due to the fact that a contamination should be removed and a fragile organic original material has to be preserved. Pulsed laser cleaning of artificially soiled Whatman© filter paper samples serving as models for historical paper was performed. Different cleaning strategies employing 8-ns laser pulses at 532 nm wavelength were applied to clean paper avoiding undesired effects like discoloration (yellowing) and mechanical deterioration of the substrate. Multi shot experiments with low-energy pulses were compared with single pulse investigations utilizing high pulse energies achieving a constant energy load incident on the samples in both cases. The cleaning efficiency and possible yellowing effects were evaluated by means of a multi spectral imaging system. An extensive microscopic analysis of the cleaned parts of the samples provided insight into the remaining soiling on the surface and in the bulk of the paper material after laser treatment. As a reference, a hard and a soft eraser were used to clean the samples.
One of the most important materials presenting and witnessing human culture is paper. The cleaning of paper is often necessary because contamination must be removed so that the fragile organic substrate can be preserved. The conventional cleaning methods are mechanical or involve the application of chemicals. These methods can damage drawings or print layers to some extent or make the original paper substrate brittle. More specifically, the use of a scalpel blade can cause damage to fibers. Chemical cleaning is difficult to perform locally, can dissolve foreign matter that then migrates into the paper substrate, or involves volatile organic compounds that can be harmful to the conservator. There is, therefore, a need for new conservation technologies aimed at the safe cleaning of paper. Lasers have proved to be an appropriate tool for cleaning as the energy dose and penetration depth at the specific point of contamination can be controlled. Additionally, if used properly, laser cleaning is not destructive to the paper.
The aim of the lecture is to present the productive interplay of connoisseurs and material analysis using the example of selected drawings from the Rembrandt collection of the Klassik Stiftung Weimar. We try to determine the point at which the question of the materiality of the drawings makes sense in the traditional discourse of connoisseurship. On the one hand, this involves the question of authorship – Rembrandt – or not? – and the locating of attributed drawings in the context of the work. On the other hand, it is about making drawing processes visible, characterizing ways of drawing and workshop practices as well as distinguishing different forms of reworking and copying within the Rembrandt workshop. The material analyses culminate in the question of whether Rembrandt’s inks can be distinguished at all.
It becomes apparent that the newly gained knowledge about the materiality of the drawing no longer reveals itself to the “mere” view of the connoisseur. Rather, it is only generated by the digital image. The rhetoric of connoisseurs must therefore be contrasted with the necessity of a hermeneutics of the digital image. The envisaged “material turn” of drawing science is thus simultaneously able to take up the critique of the question of authorship, which has been growing ever more recently, and to transfer it to a more comprehensive perspective of aesthetics of production.
In this paper, members of three research teams, namely the Turfan Project of the Berlin BrandenburgAcademy of Sciences and Humanities, the Berlin-based research project on pigments in Central Asianpaper manuscripts, and the Hamburg-based project on the history and typology of Central Asian papermanuscripts, present some of the results of their cooperation. The investigated manuscripts belong tothe Berlin Turfan Collection. On the basis of different examples the contribution of scientific methods tophilological scholarship within a multidisciplinary approach is demonstrated.
This article presents the findings resulting from the material analysis of several Sanskrit palm-leaf manuscripts from a corpus partly preserved in Nepal, viz. in the National Archives, Kathmandu (NAK), and in the Kaiser Library (KL), which is likewise situated in Kathmandu. The analysis was undertaken in March 2013. The colleagues of the NAK allocated a room in their precincts to us, where we could set up our mobile laboratory, and gave us access to the required manuscripts from their holdings. The officials of the KL, in turn, allowed us to take some of their valuable and ancient manuscripts to the NAK. In this way, we were enabled to conduct multi-instrumental studies on writing materials of great antiquity and interest.