anoxic frames at tate jacob thomas 1,2,*, stephen hackney 1, joyce townsend 1 1 tate, london, uk 2...
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Anoxic Frames at TateJacob Thomas1,2,*, Stephen Hackney1, Joyce Townsend1
1 Tate, London, UK
2 University College London, London, UK
* Corresponding author, jacoblthomas@gmail.com
Showcases Inside Out, Porto 24-26 May 2009
A heat sealed barrier film bag with oxygen absorber
anoxic solutions
Depending on an institution’s budget, several different anoxic solutions are available for display of individual high-value objects and for bulk storage of lower value objects. These vary in price from a few euros to several million dollars.
The anoxic case for the Waldseemüller mapImage credit: NISThttp://www.nist.gov/public_affairs/techbeat/tb2007_1212.htm#w-map
The anoxic case design for the refitting of the American Charters of FreedomImage credit: NISThttp://www.nist.gov/public_affairs/Charter/encasements.htm#design
The original anoxic case design for the American Charters of FreedomImage credit: NISTNBS, 1951, Preservation of the Declaration of Independence and the Constitution of the United States, National Bureau of Standards.
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, mass-produceable anoxic frame• next steps
▫ continue research into other classes of objects▫ begin framing paper-based objects in anoxia
Showcases Inside Out, Porto 24-26 May 2009
why anoxia?
• 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
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
Showcases Inside Out, Porto 24-26 May 2009
• pressed and welded aluminium body
• directional valve• butyl rubber seal• fluorescence-based oxygen
sensors
evolution of frame designearly frame design present frame design
• bent perspex or aluminium body• septa for gas filling• two Beva or butyl seals per unit• colorimetric oxygen sensors
Showcases Inside Out, Porto 24-26 May 2009
historical and experimental evidence
24-26 May 2009Showcases Inside Out, Porto
reduced colour change under anoxiano difference between anoxia and 21% oxygen
increased colour change in anoxia
Alizarin crimson,a Orpimenta Chrome deep,a Realgara Prussian blue,a Antwerp bluea
Madder/potash, b Yellow lake,b Powdered kermes,b Madder lake,b Carmine,b Eosine,b Dragon's blood,b Cochineal,b Lac/alum,b Bitumen,b Brazilwood,b Gummigut,b Lac/lake,b Quercitron lake,b Gamboge,b Saffron,b Brazilwood/potash,b Alizarin Crimson,b Lac/potash,b Indian lake,b Magenta,b Purple madder,b Brazilwwod/lake,b Realgar powder,b Lac/no mordant,b Naples yellow,b Lithol red,b Muave,b Sepia,b Orpiment,b Madder/no mordant,b Madder/alum,b Brazilwood/alum,b Brazilwood/no mordantb
Prussian blue,b Rhodamine,b Cinnebar,b Indian yellow,b Emerald green,b Indigob
Red lead,b Verdigris,b Rose madderb
Several different indigo preparationsj
Blue wool L2,c Xenon reference fabric,e Fustic,c TumericcBlue wool L6,c Indigo,c Fluorescent yellowd Fluorescent pinkd
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
Red lead,b,k* Massicot,b,k*
Magenta (rasaniline, fuchsine),a Archil (orchil),a Brazil wood,a Saffron,a Yellow Persian berry lake (sap yellow, buckthorn yellow, stil de grain vert),a Green Persian berry lake (sap green)a
Malachite,b Cinnebar,b Red lead,b Sienna,b Lithargeb
Carmine,f Green felt pen (acidic triphenylmethane),g Geranium lake,f Alizarin,a Gamboge,d ISO Blue 2,c ISO Blue 1,c Yellow felt pen (acidic triphenyl methane),g Gamboge,a Mauve,a Red felt pen (acidic triphenylmethane),g Carmine,a Purpurine,d Carmine,d Alizarinf
Vermillion azo,f Prussian bluef
C.I. Basic Blue 3 (oxazine),h C.I. Basic Orange 22 (methin),h C.I. basic Blue 18 (triphenylmethane),h C.I. Basic Blue 12 (oxazine),h Astra Violet FN Extra (methin),h C.I. Basic Blue 26 (triphenylmethane)h
Diazacyanine blue,h* Diazacyanine yellowh*
Carmine,a Crimson lake,a Scarlet lake,a Rose madder,a Madder lake,a Brown madder,a Gamboge,a Aurleolin,a Cadmium yellow,a Yellow Ochre,a Naples yellow,a Indian yellow,a Emerald green,a Olive green,a Indigo blue,a Leitches blue (cyanin),a Permanent blue,a Paynes grey,a Vandyke brown,a Burnt umber,a Brown pink,a
Vermillion,a Indian red,a Venetian Red,a Burnt sienna,a Chrome yellow,a Lemon yellow,a Raw sienna,a Terra verte,a Chrome oxide,a Cobalt blue,a French blue,a Ultrmarine ash,a Violet carmine,a purple carmine,a purple madder,a sepiaa
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*
Tumeric,i Annattoi Prussian bluei
a) pigment in gum Arabic b) pigment without binding
mediac) dye on woold) dye on cellulosee) dye on polyesterf) oil paint with flake white
extender
g) pen on paperh) dye on cotton, viscose rayon, cellulose acetate, silk, wool, and
orloni) dye on cotton, silk and wool j) dye on cottonk) pigment in glue* indicates that colour change is increased in anoxia in the presence
of moisture
historically informed reproductions and high throughput screening
24-26 May 2009
Showcases Inside Out, Porto
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
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