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). albarussa@gmail.com 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 Nome artigo 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... Alba Guerrero 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. 6 Alba Guerrero Nome artigo 7