Mathilde Renauld. Paper conservation: Fine Art and Archives. Telephone: Web:

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1 Mathilde Renauld Paper conservation: Fine Art and Archives S h o r t P o r t f o l i o Telephone: Web: +44 (0) Mathilde@renauld-conservation.net renauld-conservation.net

2 Contents 1. Conservation of Fine Art on Paper 2. Conservation of Archival Material 3. Conservation of Photographic Material 4. Other projects

3 This 1840s fine lithograph with hand colouring was adhered to a window mount with masking tape, and was severely foxed. It was decided, due to client demand, to treat the foxing. I first removed the tape with gentle heat. Then, as the hand coloured details were water-sensitive, I blotter washed the piece, before targeting the foxing with a blotter sandwich chelation treatment (with a 0.05M EDTA solution.) Remaining stains were further reduced with sun bleaching in an alkaline 50:50 ethanol:water bath. Tears and losses were repaired after a last alkaline rinse, and the object was re-sized. Above: verso of object before treatment Below: Recto of object out of window mount Recto of object after treatment

4 This 1730s copper plate map with hand colouring came framed with an inadequate backboard which accelerated its degradation on the verso. The gum tape on the verso of the corner tear was removed with a poultice, and the fragment was re-attached using conservation materials. Because the colours were extremely water-sensitive, stain reduction had to be localised: I locally washed them between blotters, then further reduced their appearance with a local bleaching treatment and moderate retouching over the harsh edges of the stain, as per client demand. Before treatment: recto and verso

5 Detail of large stain before and after treatment on recto After treatment: recto and verso Detail of tape removal treatment on verso

6 A gouache on board with insect damage, some burrows having penetrated to the front of the object, leaving holes and lifting the gouache. After surface cleaning, I consolidated the flaking gouache areas with Tylose and Klucel G to stabilise them for further treatment and handling. The burrows were emptied and treated with ethanol, before two layers of the insecticide Permetar were brushed on the back of the object. Finally, the burrows were filled with cellulose powder in Tylose, and re-touched to recover the aesthetic integrity of the piece, with watercolour paints. Left: Object before treatment; Right: Detail of damaged media (above); Emptying the burrows on verso (below)

7 Object after treatment.

8 This pea-pod model s sepals had been torn off; as what was left was thick paper-like material, I created replacements with heavy-weight watercolour paper, which I tainted green and adhered with wheat starch paste. These were then shaped, smoothed and curled according to reference pictures.

9 This small copper-plate print required surface cleaning and washing, as well as tear repairs along the two vertical creases and in the left-hand corner, which also showed skinning and required reinforcing. The extent of damage is evident in transmitted light (below) Before treatment After treatment

10 This large map (approx. 50cm width) was badly damaged due to poor storing conditions. A major loss as well as bad tears in the same area compromised the stability of the object, with fragments precariously hanging. The rest of the map had bad creasing and fragile edges. After surface cleaning with a smoke sponge on both sides, the tears were repaired with Japanese paper and wheat starch paste (on the verso), the fragments were similarly secured and strengthened, and corners and edges were consolidated. Finally, the map was relaxed with humidity, and pressed.

11 After treatment

12 Cleaning and re-housing a diapositives slides collection Slide before (top) and after cleaning (bottom) Inadequate previous storage New storage solution: archival standard Melinex poly-sleeve page.

13 Archival Box-making Bespoke clamshell box for a 1651 book (left), and square flip-top box (right)