Testing for Mold Contamination in or on Artworks using Light Microscopy & PLM

ARTWORK MOLD CONTAMINATION - Mold contamination on works of art, paintings, drawings, photographs, other materials
- Distinguishing among mold contaminants, other particulate contaminants and other stain sources on or within paintings and other works of art.
- Extractive bleeding in art works painted on hardboard products such as Masonite® or Upson Board.
ART CONSERVATION - Cultural Heritage and Aerobiology - separate article
ARTWORK MOLD CONTAMINATION
BIODETERIORATION AGENT & STAIN CATALOG - separate article
BLACK LIGHT & UV LIGHT USES - separate article
BLOOD in ART WORKS, TESTING FOR - separate article
BOOK MOLD, Moldy Book Cleaning - separate article
FLOOD DAMAGE ASSESSMENT, SAFETY & CLEANUP - separate article
FLOODS IN BUILDINGS-mold - separate article
FOXING STAINS on books & papers - separate article
MILDEW REMOVAL & PREVENTION - separate article
Questions & Answers about mold contamination on artworks
References

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Mold contamination on or paintings or other artworks: this article describes using transmitted & reflected light microscopy and polarized light microscopy to test for and report on the appearance of mold contamination on works of art (typically in the museum or in-building environment) and a forensic microscopy approach to detecting mold contamination on artworks in order to assist art conservators in both removing mold contamination and in preventing it on these materials. We include a discussion of distinguishing among mold and other painting contaminants, stains, including extractive bleeding stains, their causes and prevention. Other sources of biodeterioration of works of art such as cave paintings, and algal growth on outdoor materials are discussed elsewhere.

Mold on Art Works, paintings, painting substrates, other artworks or cultural artifacts

Photo of mold on refrigerator/freezer surfaces(C) Daniel Friedman

We have assisted several museums & curators with mold diagnosis, cure, & prevention on works of art.

The control of indoor humidity where works of art are displayed or stored indoors is naturally the principal step taken to protect these items from mold damage.

Additional steps to protect artworks depends on the materials used and the value of the items.

No valuable artwork should ever be sprayed or coated with a fungicidal sealant without consulting with an expert art conservator, and where an artwork has become mold damaged, amateur cleaning can damage it further - consult with an expert art conservator for advice. Inoue has tested a varnish coating supplemented with fungicide to attempt to control mold growth on painting surfaces [16] and Krake et als. have evaluated microbiological contamination of artworks studying both the face and the back side of canvases in a museum. [17]

In some cases it may be possible to frame, enclose, or treat the back surface of some paintings without damaging the work itself nor impinging on its artistic or monetary value. Take care to distinguish between mold growth and other moisture-damage to artworks.

Our photographs above illustrate mold growth on the paper backing of a framed work of art - mold that affects art and artifacts may be hidden on unobserved surfaces but may still be damaging the work.

Checking artwork for mold contamination (C) D Friedman Ulrik Runeberg

Our page top photograph illustrates a finding of mold growth (Cladosporium sp. and Penicillium sp.) on the surface of an oil painting. At left, other stains that appeared to be mold needed just a little further examination to distinguish between mold growth and hardboard wood fibers.

In performing analysis for oil paintings displayed in a museum in San Juan, Puerto Rico, working with art conservator Ulrik Runeberg ("Staining and Microbiological Infestation of Acrylic Paintings on Hardboard" [3]) we discovered that "brown spots" that looked like mold contamination were in some cases brown oils or extractive-bleeding from Masonite-type hardboard on which the paintings had been executed. (Pair of photographs shown just below.)

Had the artist first sealed the hardboard surface with a suitable sealant, perhaps a lacquer primer, that staining would have been reduced or prevented entirely.

Mold on artwork study (C) Daniel Friedman

Our photo (left) shows a higher magnification examination of fibers from the art-work above, as we checked for mold spores or a different cause for discoloration found on the painting obverse side.

Other artworks we have examined suffered severe mold damage, including a wide range of media such as paper-based prints and lithographs or etchings and oil paintings on canvas.

While indeed we often can find mold contamination growing on the surfaces of paintings and other art works, we may also find mold contamination within pigments - possibly from the time of creation of the work - changing the conservator's cleaning and maintenance strategy.

We also often find surface or in-media contaminants that were not mold, though they have been mistaken for it. These other contaminants include insect fragments, soot particles, road dirt and debris particles, fabric fibers, and even ultra-fine spray paint droplets that, unless examined properly, are mistaken for different contaminants, thus risking misleading the art conservator in her planning for art or artifact restoration or maintenance.

Artwork contaminants - paint droplet (C) D Friedman U Runeberg

Our photos above illustrate an example of potential confusion. By transmitted light (photo above left) the round particle may look like Nigrospora sp. or another fungal spore. But by reflected oblique top lighting it becomes immediately obvious that we are looking at a fine spray paint droplet, in this case of white-pigmented paint.

When appropriate we provide pro bono or fee-paid forensic investigation services to museums and art conservators.

At MOLD RESISTANT CONSTRUCTION we discuss methods to reduce the risk of mold growth not only on building surfaces but on and in the contents found in buildings, including works of artifacts and works of art such as paintings.

At ART CONSERVATION - Cultural Heritage and Aerobiology we describe a text that offers some help in controlling mold and other sources of damage to paintings as well as other cultural artifacts.

Also see MOLD ATLAS & PARTICLES INDEX and MOLD APPEARANCE - WHAT MOLD LOOKS LIKE and MOLD APPEARANCE - STUFF THAT IS NOT MOLD.

Humidity & Mold on Art Works

The control of indoor humidity where works of art are displayed or stored indoors is naturally the principal step taken to protect these items from mold damage.

While some experts recommend that paintings and murals must be stored at a relative humidity of 60-70%,[38] our opinion is that those humidity levels are considerably too high to be safe because

many fungi are quite happy at 60-70% RH
our field measurements show that there is often a significant difference between the humidity at the point of measurement in a building and the humidity on or close to building exterior walls (where the RH may be much higher). Details are at HUMIDITY LEVEL TARGET.

Frequently Asked Questions (FAQs) about mold contamination on or in works of art, paintings, photographs, paper works

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Technical Reviewers & References

Related Topics, found near the top of this page suggest articles closely related to this one.

[1] Cultural Heritage and Aerobiology, Methods and Measurement Techniques for Biodeterioration Monitoring, Paolo Mandrioli, Guilia Caneva, and Cristina Sabbioni, Eds., Kluwer Academic Publishers, 2003 ISBN 1-4020-1622-0
See our book review of this reference.
[2] Microfungi on Miscellaneous Substrates, Martin B. Ellis & J.Pamela Ellis, Crook Helm, London & Sydney 1988, ISBN 0-88192-115-7
[3] Runeberg, Ulrik, "Staining and Microbiological Infestation of Acrylic Paintings on Hardboard", Ulrik Runeberg, Conservator (Dipl. Rest./M.A.), Museo de Arte Contemporáneo de Puerto Rico, San Juan Presented,April 2007 conference in Richmond Virginia, sponsored by the AIC (American Institute for Conservation), this paper discussed the staining and microbial infestation of acrylic paintings on hardboard. - private correspondence, ER <->DF 12 September 2006. The following quotation is from the paper's abstract:
"Hardboard served as a common and popular support for many modern paintings that were carried out from the mid - 1920’s, and still is used occasionally in contemporary art. Many artists rejected hardboard as an inferior industrial construction material of low aesthetical value, whereas others considered the processed and compressed wood fiber boards to be a stable, light and economic alternative to solid wood panels and other rigid supports.
"From the conservator’s critical point of view, the many disadvantages of this type of support include: high acidity, hygroscope characteristics, tendency of ‘off-gassing’, (>tendency of) warping, occasional flaking of painting material in the case of tempered hardboard. The deterioration of paintings on hardboard depends on a number of factors including: the quality of the hardboard, prevailing storage conditions, and the preparation of the support by the artist. While there are many paintings on hardboard that are in very good condition, this paper will focus on those paintings that are heavily deteriorated and damaged.
"A very characteristic damage found on porous painting layers such as acrylic colour on hardboard, is the formation of stains. Generally, those stains are described without any differentiation as ‘fox-spots’. The examination of various paintings concerned led to the conclusion, that there exist different kinds of stains that need to be discriminated against each other, to ensure an appropriate conservation and restoration treatment.
"This paper aims to characterize and differentiate the stains, and will provide preventive and practical treatment proposals for the conservation and restoration of affected paintings. Questions such as ‘What are the stains composed of?’ and ‘Which may be the causes?’ will be addressed. Stains may consist of a variety of contents, such as: Ligneous residues, fungal infestation, bacterial activity, a combination of microbial and support induced discolouration [SID], a ‘symbiotic relation’ of ‘SID’ and fungal infestation, or the blooming of ingredients from the original painting materials. A range of microscopic analysis of the actual microbiological infestation of selected samples will be provided. The paintings that were examined, sampled and treated, are part of the Puerto Rican heritage, and were all kept in excessive humid tropical conditions, before they entered the Conservation Department of the Museum of Contemporary Art in Puerto Rico.
"Conservation treatment options of stained paintings on hardboard will be discussed. A high level of acidity (caused from SID and/or micro-organisms) may require measures of reduction, disinfection and neutralization. Treatment methods that reduce the ligneous stains and residues of micro-organisms, and neutralize affected areas in painting layers include stain removal through the application of soaking compresses (poultices), and de-acidification through alkaline material.
"Other aspects of deterioration, that do not have to do directly with the formation of stains, but also are typical for hardboard as painting support, will be mentioned briefly." - U.R.
[4] Analysis of Modern Paints, Thomas J.S. Learner, Research in Conservation, 2004 ISBN 0-89236-779-2 [Chemistry of modern paints, overview of analytical methods, pyrolysis-gas chromatography signatures of basic modern paints and their constituents, Fourier transform infrared spectroscopy for paint analysis, direct temperature-resolved mass spectrometry, and analysis in practice - technical reference useful for forensic paint science, focused on art works -DF]
[5] Art, Biology, and Conservation: Biodeterioration in Works of Art, Robert J. Koestler et als. Eds., Metropolitan Museum of Art, 2003, ISBN 1-58839-107-8
[6] Building Pathology, Deterioration, Diagnostics, and Intervention, Samuel Y. Harris, P.E., AIA, Esq., ISBN 0-471-33172-4, John Wiley & Sons, 2001 [General building science-DF - ** Particularly useful text **
[7]Dampness in buildings, Diagnosis, Treatment, Instruments, T.A. Oxley & E.G. Gobert, ISBN 0-408-01463-6, Butterworths, 1983-1987 [General building science-DF]
[8] Paint and Surface Coatings, Theory and Practice [purchase at Amazon.com], R. Lambourne & T.A. Strivens, Ed., Woodhead Publishing Ltd., William Andrew Publishing, 1999 ISBN 1-85573-348 X & 1-884207-73-1 [This is perhaps the leading reference on modern paints and coatings, but is a difficult text to obtain, and is a bit short on field investigation methods - DF]
[9] Paint Handbook: testing, selection, application, troubleshooting, surface preparation, etc., Guy E. Weismantel, Ed., McGraw Hill Book Company, 1981, ISBN-10: 0070690618, ISBN-13: 978-0070690615, [Excellent but a bit obsolete paint theory and practice, also a bit light on field investigation methods, out of print, available used-DF]
How to select and apply the right paint or coating for any surface. The first major reference to help you choose the correct paint or other finish to do the job best on a particular surface exposed to a particular environment. Experts in the field give full advice on testing surface preparation, application, corrosion prevention, and troubleshooting. The handbook covers wood, metal, composites, and masonry, as well as marine applications and roof coatings. A ``must'' working tool for contractors, architects, engineers, specification writers, and paint dealers.
[11] Paint and Surface Coatings, Theory and Practice, R. Lambourne & T.A. Strivens, Ed., Woodhead Publishing Ltd., William Andrew Publishing, 1999 ISBN 1-85573-348 X & 1-884207-73-1 [This is perhaps the leading reference on modern paints and coatings, but is a difficult text to obtain, and is a bit short on field investigation methods - DF]
Provides a comprehensive reference source for all those in the paint industry, paint manufacturers and raw materials suppliers, undergraduate and postgraduate students, and industrial paint users. R. Lambourne was in the Research Department at ICI Paints Division and the Industrial Colloid Advisory Group, Birstol University, UK.
[12] Seeing Through Paintings, Physical Examination in Art Historical Studies, Andrea Kirsh, Rustin S. Levenson, Materials in Fine Arts, 2000 ISBN 99-051835 [ forensic science, technical reference, focused on art works - DF]
[13] Sealants, Durability of Building Sealants (RILEM Proceedings), J.C. Beech, A.T. Wolf, Spon Press; illustrated edition (1995), ISBN-10: 0419210709, ISBN-13: 978-0419210702
This book presents the papers given at the RILEM Seminar held at the Building Research Establishment, Garston, UK in October 1994. The book provides an opportunity for researchers to review up-to-date progress towards the achievement of the objectives of the standardisation of laboratory techniques of sealants in the variety of service conditions to which they are exposed.
[14] Soiling and Cleaning of Building Facades (RILEM Report), L.G.W. Verhoef (Editor), Routledge; 1 edition (November 3, 1988), ISBN-10: 0412306700, USBN-13: 978-0412306709
The report of a comprehensive investigation by RILEM which examines all aspects of the cleaning of facades, subject to soiling by both biological and non-biological agencies. The contributors are international authorities working in this field giving essential advice to all those who need to know how to approach the problems connected with the soiling and cleaning of building facades.
[15] Staining, Prevention of Premature Staining in New buildings, Phil Parnham, Taylor & Francis; 1996, ISBN-10: 0419171304, ISBN-13: 978-0419171300
The appearance of ugly staining early in a buildings life, ruins an otherwise pleasing appearance, tarnishes the image of the owners and gives rise to costly refurbishment works. In this book Phil Parnham raises a number of questions that should be considered whenever a new building is being designed or built. These are: * why has staining become so prominent; * what causes premature staining; which parts of new buildings are likely to be affected; * how can it be avoided? By using a number of highly illustrated case studies, the author answers these questions and ends by suggesting measures that should be taken by all design and construction professionals to prevent premature staining.
[16] Mayumi Inoue, "Fungal Contamination of Oil Paintings in Japan", International Biodeterioration Volume 28, Issues 1–4, 1991, Pages 23–35,
Abstract Japan's climate, with several months of high temperatures, and high humidity, is well suited to the growth of various kinds of fungi. They grow not only on food, wood, and textiles, but also on paintings. We have examined a variety of instances of deterioration caused by the growth of fungi on paintings and have isolated and identified more than a hundred of these fungi. Of these, the typical ones are Alternaria, Cladosporium, Fusarium, Aspergillus, Trichoderma and Penicillium. Since 1982 we have studied a fungicide-containing varnish to test its ability to inhibit fungal growth. The varnish, made from synthetic resin containing Vinyzene, a fungicide, was sprayed on about 100 paint samples. Annual observations have confirmed that it has a fungicidal effect. This paper reports on the effect of the Vinyzene-containing varnish on paint and its utility as a fungicide.
[17] Ann M. Krake, Karen A. Worthington, Kenneth M. Wallingford, Kenneth F. Martinez, "Evaluation of Microbiological Contamination in a Museum", Applied Occupational and Environmental Hygiene, Vol. 14 (8): 499-509, 1999.
[18] Rika Kigawa, Chie Sano, Takeshi Ishizaki, Sadatoshi Miura and Junta Sugiyama, "Biological issues in the conservation of mural paintings of Takamatsuzuka and Kitora tumuli in Japan", in The Object in Context: Crossing Conservation Boundaries: Contributions to the Munich Congress 28 August – 1 September 2006, p.335-335 (2006), International Institute for Conservation of Historic and Artistic Works. [copy on file as Artwork_Mold_Kigawa.pdf]
[19] Orial, G. and Mertz, J-D. : Lascaux: ne grotte vivante. Étude et suivi des phénomenes microbiologiques, Dossier Les grottes ornées, semestriel 2, Monumental, 76-87 (2006)
[20] Pallot-Frossard, I. : Similitudes japonaises: le tumulus de Takamatsu-zuka attaque par les moisissures, Dossier Les grottes ornées, semestriel 2, Monumental, 82 (2006)
[21] International Institute for Conservation of Historic and Artistic Works, 3 Birdcage Walk Westminster London SW1H 9JJ UK, Tel: +44 (0)20 7799 5500, web search 6/2/12, Website: http://www.iiconservation.org/ - Quoting:
IIC is an independent international organisation supported by individual and institutional members. It serves as a forum among professionals with responsibility for the preservation of cultural heritage. It advances knowledge, practice and standards for the conservation of historic and artistic works through its publications and conferences. It promotes professional excellence and public awareness through its awards and scholarships.
[22] Orio Ciferri, "Microbial Degradation of Paintings", Appl. Environ. Microbiol. March 1999 vol. 65 no. 3 879-885,
[23] Bianchi A., Favali M. A., Barbieri N., Bassi M. (1980) The use of fungicides on mold-covered frescoes in S. Eusebio in Pavia. Int. Biodeterior. Bull. 16:45–51. Bravery A. F. (1988) Biodeterioration of paint—a state-of-the-art comment. in Biodeterioration, eds Houghton D. R., Smith R. N., Eggins H. O. W. (Elsevier Applied Science, New York, N.Y), 7:466–485.
[24] Bravery A. F. (1988) Biodeterioration of paint—a state-of-the-art comment. in Biodeterioration, eds Houghton D. R., Smith R. N., Eggins H. O. W. (Elsevier Applied Science, New York, N.Y), 7:466–485.
[25] Gargani G. (1968) Fungus contamination of Florence art—masterpieces before and after the 1966 disaster. in Biodeterioration of materials. eds Walters A. H., Elphick J. J. (Elsevier P.C. Amsterdam, The Netherlands), pp 252–257.
[26] Gettens R. J., Pease M., Stout G. I. (1941) The problem of mold growth in paintings. Techn. Stud. Fine Arts 9:127–143.
[27] Giacobini C., Andreoli C., Casadoro G., Fumanti B., Lanzara P., Rascio N. (1979) Una caratteristica alterazione delle murature e degli intonaci. Atti del 3° Congresso Internazionale sul Deterioramento e la Conservazione della Pietra, Venice, Italy. University of Padua, Padua, Italy, pp 289–299.
[28] Giacobini C., Firpi M. (1981) Problemi di microbiologia nei dipinti su tela. Atti del Convenzione sul Restauro delle Opere d’Arte. Opificio delle Pietre Dure e Laboratorio di Restauro di Firenze (Polistampa, Florence, Italy), pp 203–211.
[29] Ionita I. (1971) Contributions to the study of the biodeterioration of the works of art and of historic monuments. II. Species of fungi isolated from oil and tempera paintings. Rev. Roum. Biol. Ser. Bot. 16:377–381.
[30] Jeffries P. (1986) Growth of Beauvaria alba on mural paintings in Canterbury Cathedral. Int. Biodeterior. 22:11–13.
[31] Klens P. F., Lang J. R. (1956) Microbiological factors in paint preservation. J. Oil Colour Chemists’ Assoc. 38:887–899.
[32] Nugari M. P., Realini M., Roccardi A. (1993) Contamination of mural paintings by indoor airborne fungal spores. Aerobiologia 9:131–139.
[33] O’Neill T. B. (1986) Succession and interrelationships of microorganisms on painted surfaces. J. Coatings Technol. 58:51–56.
[34] O’Neill T. B. (1988) Succession and interrelationships of microorganisms on painted surfaces. Int. Biodeterior. 24:373–379.
[35] Petushkova J. P., Lyalikova N. N. (1986) Microbiological degradation of lead-containing pigments in mural paintings. Stud. Conserv. 31:65–69.
[36] Reynolds E. S. (1950) Pullularia as a cause of deterioration of paint and plastic surfaces in South Florida. Mycologia 42:432–448.
[37] Winters H., Isquith I. R., Goll M. (1975) A study of the ecological succession in biodeterioration of a vinyl acrylic paint film. Dev. Ind. Microbiol. 17:167–171.
[38] Kuritsyna,D. S., Army Foreign Science & Technology Center, Charlottesville VA (Corporate Author), "Effect of Relative Humidity on Damage to Paintings from Mold Fungi (Vliyanie Otnositelnoi Vlazhnosti Vozdukha na Povrezhdayemost Zhivopisi Plesnevymi Gribami)," 04 Sept 1970, Accession Number : AD0719484, web search 6/2/12 original source: http://oai.dtic.mil/oai/oai?verb=getRecord&metadataPrefix=html&identifier=AD0719484 - Quoting:
Abstract : Data concerning the temperature and humidity conditions under which paintings will not be damaged by mold fungi are very limited. For this reason an investigation was made of the effect of relative humidity on the growth of fungi which damage paintings and murals. It was found that for the safeguarding of ancient Russian easel distemper paintings against damage by mold fungi they must be stored at a relative humidity of 60-70% with an admissible daily humidity fluctuation of 5%, since the level of critical relative humidity at which the growth of fungi on icons begins is above 75%. In painting galleries, where easel oil paintings constitute the majority of exhibits, the relative humidity should be kept in the range 60-65%, but not higher, since with an increase in relative humidity to 75% there is a real possibility of damage to the paintings by mold fungi. However, the storage of easel oil paintings at a relative humidity in the range 60-65% guarantees them against damage by mold fungi. In cathedrals with wall Paintingss an effort must be made to prevent relative humidity from rising above 60-65%, since even beginning with 66% there is some slight development of mold fungi. (Author)

Books & Articles on Building & Environmental Inspection, Testing, Diagnosis, & Repair

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The Home Reference Book - the Encyclopedia of Homes, Carson Dunlop & Associates, Toronto, Ontario, 25th Ed., 2012, is a bound volume of more than 450 illustrated pages that assist home inspectors and home owners in the inspection and detection of problems on buildings. The text is intended as a reference guide to help building owners operate and maintain their home effectively. Field inspection worksheets are included at the back of the volume. Special Offer: For a 10% discount on any number of copies of the Home Reference Book purchased as a single order. Enter INSPECTAHRB in the order payment page "Promo/Redemption" space. InspectAPedia.com editor Daniel Friedman is a contributing author.

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Building inspection education & report writing systems from Carson, Dunlop & Associates Ltd

Carson Dunlop, Associates, Toronto, have provided us with (and we recommend) Carson Dunlop Weldon & Associates' Technical Reference Guide to manufacturer's model and serial number information for heating and cooling equipment
Special Offer: Carson Dunlop Associates offers InspectAPedia readers in the U.S.A. a 5% discount on any number of copies of the Technical Reference Guide purchased as a single order. Just enter INSPECTATRG in the order payment page "Promo/Redemption" space.
Understanding Ventilation, John Bower, The Healthy House Institute, ISBN 0-9637156-5-8, 1995 [General building science-DF - ** Particularly useful text. Mr. Bower has retired from the field but his book continues to be important]
"Moisture Control in buildings: Putting Building Science in Green Building," Alex Wilson, Environmental Building News, Vol. 12. No. 5. [Good tutorial, "Moisture 101" outlining the physics of moisture movement in buildings and a good but incomplete list of general suggestions for moisture control - inadequate attention given to exterior conditions such as roof and surface drainage defects which are among the most-common sources of building moisture and water entry.--DJF]
...

Paint & Fiber Forensic Analysis, Diagnosis, Conservation

Analysis of Modern Paints, Thomas J.S. Learner, Research in Conservation, 2004 ISBN 0-89236-779-2
[Chemistry of modern paints, overview of analytical methods, pyrolysis-gas chromatography signatures of basic modern paints and their constituents, Fourier transform infrared spectroscopy for paint analysis, direct temperature-resolved mass spectrometry, and analysis in practice - technical reference useful for forensic paint science, focused on art works. One of our most useful texts in forensic investigation of paint failures and paint problem diagnosis - for building investigators as well as art conservators. -DF]
Although oil remains an important binding medium in artists' paints, today's synthetic resins are being used with increasing frequency. This was true during much of the twentieth century, when artists such as David Alfaro Siqueiros, Jackson Pollock, and Pablo Picasso used commercial or industrial paints based on synthetic resins. The growing popularity of synthetic resin materials carries important implications for the conservation, preservation, and treatment of modern art.
This volume outlines the techniques that are currently employed to analyze the synthetic resins used in modern painting materials, such as pyrolysis-gas chromatography-mass spectrometry, Fourier Transform infrared spectroscopy, and direct temperature-resolved mass spectrometry. For each technique, results are given for standard samples of the principal classes of synthetic binding media, various pigments and extenders, tube paint formulations, and microscopic paint fragments taken from actual works of art.
Primarily intended for conservation scientists, conservators, researchers, and students of conservation, this book will also be of interest to other museum professionals.
Art, Biology, and Conservation: Biodeterioration in Works of Art, Robert J. Koestler et als. Eds., Metropolitan Museum of Art, 2003, ISBN 1-58839-107-8
Series of excellent research and advice articles on art work conservation of special use to conservators and also to building, artifact, and art forensic investigators. MOMA. - DF
Despite the perception that artworks are timeless and unchanging, they are actually subject to biological attack from a variety of sources—from bacteria to fungi to insects. This groundbreaking volume, which publishes the proceedings of a conference held at The Metropolitan Museum of Art in 2002, explores how the development of these organisms can be arrested while preserving both the work of art and the health of the conservator.
The richly illustrated text, containing the writings of over 40 scientists and conservators, is divided into sections on stone and mural paintings, paper, textiles, wood and archaeological materials, treatment and prevention, and special topics. The artworks and cultural properties discussed include, among many others, Paleolithic cave paintings, Tiffany drawings, huts built by early Antarctic explorers, and a collection of toothbrushes taken from Auschwitz victims. -- Robert J. Koestler is a research scientist at The Metropolitan Museum of Art; Victoria H. Koestler is a freelance writer and editor; A. Elena Charola is a freelance conservation scientist; and Fernando E. Nieto-Fernandez is a biologist at Old Westbury College, New York.
Cultural Heritage and Aerobiology, Methods and Measurement Techniques for Biodeterioration Monitoring, Paolo Mandrioli, Guilia Caneva, and Cristina Sabbioni, Eds., Kluwer Academic Publishers, 2003 ISBN 1-4020-1622-0
This is a translated and revised edition of the original Italian version. This book is the first to give a general overview of the application of aerobiology (the science that studies the biological components of the atmosphere) to the conservation of our cultural heritage. Aerobiological monitoring makes it possible to estimate the risks of degradation of artefacts of historical or artistic importance by airborne microorganisms (airborne spores and vegetative structures) according to the types of materials forming the artefacts, to the conditions of the microclimate and to the type of environmental pollution, thus enabling the planning of preventive or reparative intervention. Among the book's main features are: + Aspects of the biodeterioration of different materials (paper, wood, fabrics, parchment, leather, stone, glass, metals, plastic, etc.). + Methods for measuring environmental parameters, both physical (microclimatic) and chemical (pollutants). + Methods and techniques of aerobiological monitoring. + Specific problems concerning the different types of environments. Audience: The subject is thoroughly explored, thus supplying a useful tool to those who are in charge of the conservation of our cultural heritage (libraries, archives, museums, churches, hypogea, monuments, archaeological sites, etc.).
See our book review of this reference.
Exterior Paint Problems on Historic Woodwork [Copy on file as /exterior/Preservation_Brief_10_ Exterior_Paint_Problems_on_Historic_Woodwork.pdf ] - , Kay D. Weeks and David W. Look, AIA, U.S. Department of the Interior, National Parks Service Preservation Brief No. 10. Web search 02/01/2011, original source: http://www.nps.gov/hps/tps/briefs/brief10.htm
Microscopy of Textile Fibres (Microscopy Handbooks, 32), P H Greaves, Garland Science; 1 edition (January 1, 1995), ISBN-10: 1872748244, ISBN-13: 978-1872748245
[We ordered our copy from the British publisher - now it's on Amazon.
These 3 fiber books have been essential forensic lab references supplementing our McCrone Research courses on forensic microscopy; also of use to textile conservators. - DF
An up-to-date practical guide to the properties and characteristics of textile fibres, with clear advice on sampling, specimen preparation and examination procedures.
Microscopy of Animal Textile Fibres, Alex Blakey Wildm, 1954
Hard to obtain, useful for forensic microscopy - DF
Modern Paints Uncovered (Getty Conservation Institute Symposium Proceedings), Thomas Learner, Getty Publications (March 1, 2008),ISBN-10: 089236906X, ISBN-13: 978-0892369065
Over the past seventy years, a staggering array of new pigments and binders has been developed and used in the production of paint, and twentieth-century artists readily applied these materials to their canvases. Paints intended for houses, boats, cars, and other industrial applications frequently turn up in modern art collections, posing new challenges for paintings conservators.
This volume presents the papers and posters from "Modern Paints Uncovered," a symposium organized by the Getty Conservation Institute, Tate, and the National Gallery of Art and held at Tate Modern, London, in May 2006. Professionals from around the world shared the results of research on paints that have been available to artists since 1930--the date that synthetic materials began to significantly impact the paint industry.
Modern Paints Uncovered showcases the varied strands of cutting-edge research into the conservation of contemporary painted surfaces. These include paint properties and surface characteristics, analysis and identification
Of Microbes and Art: The Role of Microbial Communities in the Degradation and Protection of Cultural Heritage, Kindle Edition, Springer; 1 edition (June 30, 2000), ASIN: B000VHV4FC
Paint Handbook: testing, selection, application, troubleshooting, surface preparation, etc., Guy E. Weismantel, Ed., McGraw Hill Book Company, 1981
[Excellent but a bit obsolete paint theory and practice, also a bit light on field investigation methods, out of print, available used. Very useful reference for paint testing, selection, and paint failure diagnosis - focus on non-artistic use of paints such as on buildings, roofs, marine coatings. -DF]
How to select and apply the right paint or coating for any surface. The first major reference to help you choose the correct paint or other finish to do the job best on a particular surface exposed to a particular environment. Experts in the field give full advice on testing surface preparation, application, corrosion prevention, and troubleshooting. The handbook covers wood, metal, composites, and masonry, as well as marine applications and roof coatings. A ``must'' working tool for contractors, architects, engineers, specification writers, and paint dealers
Paint Magic, Jocasta Innes, Frances Lincoln; 4th edition (August 17, 2006), ISBN-10: 071122272X, ISBN-13: 978-0711222724 - Paint advice for home decoration, including painting techniques such as antiquing, bambooing, bleaching, color washing, combing, decorative painting, dragging, dyeing, gliding, graining, japanning, lacquering, lining, marbling, porphyry, rag-rolling, sponging, staining, stencilling, stippling, tortoiseshelling, trompe l'oeil, and vinegar painting - DF
Paint and Surface Coatings, Theory and Practice - [purchase at Amazon.com], R. Lambourne & T.A. Strivens, Ed., Woodhead Publishing Ltd., William Andrew Publishing, 1999 ISBN 1-85573-348 X & 1-884207-73-1
[ This is perhaps the leading reference on modern paints and coatings, but is a difficult text to obtain, and is a bit short on field investigation methods. Encyclopedic reference on the composition, production, properties, use, and testing of paints and coatings - DF]
Provides a comprehensive reference source for all those in the paint industry, paint manufacturers and raw materials suppliers, undergraduate and postgraduate students, and industrial paint users.
Plant Biology for Cultural Heritage: Biodeterioration and Conservation, Giulia Caneva, Maria Pia Nugari, Ornella Salvadori, Getty Publications (January 15, 2009), ISBN-10: 0892369396, ISBN-13: 978-0892369393
Quality Assessment of Textiles, Karl Marshall, Kindle Edition, Springer; 2nd edition (October 31, 1993, ASIN: B00193F3BI
The damage which can occur in certain fibrous raw materials or during the production and storage of textiles is expertly described in this book by Karl Mahall. He particularly shows how to find concealed textile defects by using microscopic analysis. The examples represent typical cases that the author encountered during forty years of experience in the industry. Well-illustrated with impressive photographs, they invite you to follow each step and learn to apply the same methodology in practice. This book is especially useful as a manual for both chemical and textile engineers and quality engineers. It is also a useful reference for others in the textile industry in general.
Building Pathology, Deterioration, Diagnostics, and Intervention, Samuel Y. Harris, P.E., AIA, Esq., ISBN 0-471-33172-4, John Wiley & Sons, 2001 [General building science-DF - ** Particularly useful text **
Understanding Ventilation, John Bower, The Healthy House Institute, ISBN 0-9637156-5-8, 1995 [General building science-DF - ** Particularly useful text. Mr. Bower has retired from the field but his book continues to be important]
Dampness in buildings, Diagnosis, Treatment, Instruments, T.A. Oxley & E.G. Gobert, ISBN 0-408-01463-6, Butterworths, 1983-1987 [General building science-DF]
"Moisture Control in buildings: Putting Building Science in Green Building," Alex Wilson, Environmental Building News, Vol. 12. No. 5. [Good tutorial, "Moisture 101" outlining the physics of moisture movement in buildings and a good but incomplete list of general suggestions for moisture control - inadequate attention given to exterior conditions such as roof and surface drainage defects which are among the most-common sources of building moisture and water entry.--DJF]
"Paint Failure Problems and Their Cure," Daniel L. Cassens and William C. Feist, National Forest Products Laboratory, online via Purdue University, http://www.ces.purdue.edu/extmedia/NCR/NCR-133.html
Supplemental Guidelines for Removing Paint From Interior and Exterior Wood Surfaces [on file as "/exterior/Paint_Removal_USGSA.pdf ] - , US General Services Administration, Historical Preservation Technical Procedures, 06400-02, web search August 2010, original source: //w3.gsa.gov/web/p/Hptp.nsf/0/40aff5a115b6a9e5852565c50054b4f4?OpenDocument
"Common Paint Problems," http://www.parkerpaint.com/Common%20Paint%20Problems.html illustrates common paint failures - though their images and text appear to have been stolen from PPG - see http://www.ppg.com/getpaint/etraining/solver/exterior.html which catalogs paint failures and causes
"Paint problem solver" from Lowes, http://www.lowes.com/lowes/lkn?action=howTo&p=Improve/PntPrbSlv.html&rn=RightNavFiles/no.html
"Mill Glaze: Myth or Reality," R. Sam Williams, Mark Knaebe, US FPL, original source: fpl.fs.fed.us/documnts/finlines/willi01a.pdf
http://www.paintlab.com/failure.html is a lab offering paint chip failure analysis
PPG Exterior Failures http://www.ppg.com/getpaint/etraining/solver/exterior.html
"Peeling Back Paint Layers For a Glimpse Into the Past," James Barron, The New York Times, 25 Feb 2010, p. A26
Seeing Through Paintings, Physical Examination in Art Historical Studies, Andrea Kirsh, Rustin S. Levenson, Materials in Fine Arts, 2000 ISBN 99-051835 [ forensic science, technical reference, focused on art works - DF]
One of the best texts available for forensic investigation of the history, authenticity, and condition of paintings - DF
Sealants, Durability of Building Sealants (RILEM Proceedings), J.C. Beech, A.T. Wolf, Spon Press; illustrated edition (1995), ISBN-10: 0419210709, ISBN-13: 978-0419210702
This book presents the papers given at the RILEM Seminar held at the Building Research Establishment, Garston, UK in October 1994. The book provides an opportunity for researchers to review up-to-date progress towards the achievement of the objectives of the standardisation of laboratory techniques of sealants in the variety of service conditions to which they are exposed.
Soiling and Cleaning of Building Facades (RILEM Report), L.G.W. Verhoef (Editor), Routledge; 1 edition (November 3, 1988), ISBN-10: 0412306700, USBN-13: 978-0412306709
The report of a comprehensive investigation by RILEM which examines all aspects of the cleaning of facades, subject to soiling by both biological and non-biological agencies. The contributors are international authorities working in this field giving essential advice to all those who need to know how to approach the problems connected with the soiling and cleaning of building facades.
Staining, Prevention of Premature Staining in New buildings, Phil Parnham, Taylor & Francis; 1996, ISBN-10: 0419171304, ISBN-13: 978-0419171300
The appearance of ugly staining early in a buildings life, ruins an otherwise pleasing appearance, tarnishes the image of the owners and gives rise to costly refurbishment works. In this book Phil Parnham raises a number of questions that should be considered whenever a new building is being designed or built. These are: * why has staining become so prominent; * what causes premature staining; which parts of new buildings are likely to be affected; * how can it be avoided? By using a number of highly illustrated case studies, the author answers these questions and ends by suggesting measures that should be taken by all design and construction professionals to prevent premature staining.
"Staining and Microbiological Infestation of Acrylic Paintings on Hardboard", Ulrik Runeberg, Conservator (Dipl. Rest./M.A.), Museo de Arte Contemporáneo de Puerto Rico, San Juan Presented,April 2007 conference in Richmond Virginia, sponsored by the AIC (American Institute for Conservation), this paper discussed the staining and microbial infestation of acrylic paintings on hardboard. - private correspondence, ER <->DF 12 September 2006. The following quotation is from the paper's abstract:
"Hardboard served as a common and popular support for many modern paintings that were carried out from the mid - 1920’s, and still is used occasionally in contemporary art. Many artists rejected hardboard as an inferior industrial construction material of low aesthetical value, whereas others considered the processed and compressed wood fiber boards to be a stable, light and economic alternative to solid wood panels and other rigid supports.
"From the conservator’s critical point of view, the many disadvantages of this type of support include: high acidity, hygroscope characteristics, tendency of ‘off-gassing’, (>tendency of) warping, occasional flaking of painting material in the case of tempered hardboard. The deterioration of paintings on hardboard depends on a number of factors including: the quality of the hardboard, prevailing storage conditions, and the preparation of the support by the artist. While there are many paintings on hardboard that are in very good condition, this paper will focus on those paintings that are heavily deteriorated and damaged.
"A very characteristic damage found on porous painting layers such as acrylic colour on hardboard, is the formation of stains. Generally, those stains are described without any differentiation as ‘fox-spots’. The examination of various paintings concerned led to the conclusion, that there exist different kinds of stains that need to be discriminated against each other, to ensure an appropriate conservation and restoration treatment.
"This paper aims to characterize and differentiate the stains, and will provide preventive and practical treatment proposals for the conservation and restoration of affected paintings. Questions such as ‘What are the stains composed of?’ and ‘Which may be the causes?’ will be addressed. Stains may consist of a variety of contents, such as: Ligneous residues, fungal infestation, bacterial activity, a combination of microbial and support induced discolouration [SID], a ‘symbiotic relation’ of ‘SID’ and fungal infestation, or the blooming of ingredients from the original painting materials. A range of microscopic analysis of the actual microbiological infestation of selected samples will be provided. The paintings that were examined, sampled and treated, are part of the Puerto Rican heritage, and were all kept in excessive humid tropical conditions, before they entered the Conservation Department of the Museum of Contemporary Art in Puerto Rico.
"Conservation treatment options of stained paintings on hardboard will be discussed. A high level of acidity (caused from SID and/or micro-organisms) may require measures of reduction, disinfection and neutralization. Treatment methods that reduce the ligneous stains and residues of micro-organisms, and neutralize affected areas in painting layers include stain removal through the application of soaking compresses (poultices), and de-acidification through alkaline material.
"Other aspects of deterioration, that do not have to do directly with the formation of stains, but also are typical for hardboard as painting support, will be mentioned briefly." - U.R.
Why House Paint Fails [on file as /exterior/Why_House_Paint_Fails_FPL1.pdf ] - , Mark Knaebe, US FPL, web search August 2010, original source: http://www.fpl.fs.fed.us/documnts/finlines/knaeb95a.pdf
Why Paint Jobs Fail [on file as /exterior/Why_Paint_Fails_Bennett.pdf ] - , web search, August 2010, original source: http://www.bennette.com/pdf/whyfail.pdf, four pages describing alligatoring, bleeding, blistering, etc. Bennette Corporation, P.O. Box 9088, Hampton, VA 23670, Phone: 757-838-7777, Toll Free: 800-869-2929 Fax: 757-827-0529, Email: info@bennette.com, Website: www.bennette.com quoting:
Bennette Paint Manufacturing Company, Inc. is a Virginia corporation which was founded in Newport News, Virginia in 1966 by James P. Bennette, Sr. In 1984, Mr Bennette sold the company to his employees through an Employee Stock Ownership Plan (ESOP). Today the company has a modern manufacturing plant, research laboratory, central warehouse and general offices located at 401 Industry Drive, Hampton, Virginia. From these facilities the company is able to supply quality paints and coatings through its company owned distribution and service centers and authorized dealers located in Virginia, North Carolina and South Carolina. Bennette Paint Manufacturing Company, Inc. also owns and operates Bennette Equipment Company which specializes in the sale, service, and rental of paint spraying and pressure cleaning equipment.
Why House Paint Fails [on file as /exterior/Why_House_Paint_Fails_FPL1.pdf ] - , Mark Knaebe, US FPL, web search August 2010, original source: http://www.fpl.fs.fed.us/documnts/finlines/knaeb95a.pdf
Why Paint Jobs Fail [on file as /exterior/Why_Paint_Fails_Bennett.pdf ] - , web search, August 2010, original source: http://www.bennette.com/pdf/whyfail.pdf, four pages describing alligatoring, bleeding, blistering, etc. Bennette Corporation, P.O. Box 9088, Hampton, VA 23670, Phone: 757-838-7777, Toll Free: 800-869-2929 Fax: 757-827-0529, Email: info@bennette.com, Website: www.bennette.com quoting:
Bennette Paint Manufacturing Company, Inc. is a Virginia corporation which was founded in Newport News, Virginia in 1966 by James P. Bennette, Sr. In 1984, Mr Bennette sold the company to his employees through an Employee Stock Ownership Plan (ESOP). Today the company has a modern manufacturing plant, research laboratory, central warehouse and general offices located at 401 Industry Drive, Hampton, Virginia. From these facilities the company is able to supply quality paints and coatings through its company owned distribution and service centers and authorized dealers located in Virginia, North Carolina and South Carolina. Bennette Paint Manufacturing Company, Inc. also owns and operates Bennette Equipment Company which specializes in the sale, service, and rental of paint spraying and pressure cleaning equipment.


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