School of Historical and Philosophical Studies - Theses
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ItemNo Preview AvailableTextile production in prehistoric Anatolia : a study of three early bronze age sites(University of Melbourne, 2005)
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ItemAn approach to the conservation of Kanak cultural heritage( 2005)Conservation has evolved within western museums from a fine arts perspective and collections made of non-western objects have been treated considering predominantly their tangible aspects with an emphasis on aesthetic reintegration. This attitude has been challenged in the last 25 years by countries where indigenous people have gained a political voice such as Australia, New Zealand, Canada and USA. Numerous ethical issues have been raised and the importance of respecting the intangible value of non-western artefacts has been acknowledged by conservators and museum professionals worldwide, through professional guidelines and policy documents. As the relationship with objects in Kanak culture from New Caledonia is characterised by restrictions and obligations, as signs of respect, this research seeks to determine how the varied aspects of conservation work can be respectful to Kanak artefacts in a contemporary postcolonial museum context. This thesis composes professional guidelines for Kanak objects based on research and discussion with Kanak community members and stakeholders. The guidelines established will, in the future, be proposed for approval by the Customary Senate of New Caledonia and then presented worldwide to people working with Kanak objects in museums and conservators in particular.
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ItemThe choices that calligraphic artists make in their choice of materials, comparing physical properties of calligraphy papers in Japan with those of China( 2005)In conservation much has been written on the properties of Japanese papers, particularly the properties of bast fibre kozo, gampi and mitsumata. However, the vast majority of calligraphic works produced in Japan are done upon composite fibre papers, composed of a bast fibre, mixed with other fibres to affect their working properties. There is a gap in knowledge between that which the artist appreciates and uses and what the conservator has studied. The aim of this paper is to bridge the gap between the conservator and the artist by bringing to conservators attention the choices that calligraphic artists make in their choice of materials. As well as this I intend to research the material and aging properties of available retail calligraphy papers in Japan. In particular, I look at Gasenshi papers, both Chinese and Japanese, and compare their properties in the light of Fei Wen Tsai's research into Chinese-produced Xuan papers. Much of this information has been obtained in Japanese from retail merchants in Japan, from Kazuko Saito, a Calligrapher, Kyoto, Japan, and from my own personal experience as a calligraphy student in Japan.
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ItemAn investigation of pottery from the Cypriot collection of the university of melbourne( 2005)Six archaeological Cypriot pottery artefacts, housed in the Ian Potter Museum of Art, were assessed, in collaboration with the Centre of Cultural Materials Conservation and the School of Art History, Cinema, Classics and Archaeology at The University of Melbourne. The aim is to stabilize these objects for exhibition purposes, whilst maintaining their integrity for study and research purposes.This investigation involved: consulting archaeologists and conservators to gain an impression of archaeological conservation practices within an Australian context; confirming provenance; assessing condition using non-invasive examination methods; and making treatment recommendations. A more detailed examination was conducted into the adhesives associated with these artefacts. This involved: compiling a set of known control adhesive samples, assessing a spectrum of analysis techniques and using the analytical path developed to identify adhesives sampled fro three vessels.A multiple-choice questionnaire was used to establish: a profile of participants; an impression of archaeological site practices; types of adhesives used; types of analysis techniques being used; and opinions regarding the display of pottery. Results indicate that within Australian archaeology, there are two schools of thought regarding the use of conservators at dig sites. However the need for conservators becomes apparent when complex problems such as stabilisation, consolidation and desalination are encountered. Adhesives commonly used are based on cellulose nitrate, poly(vinyl acetate) and the acrylics. When analysing pottery both professions predominantly use visual methods, but are starting to access chemical and instrumental analysis methods. Regarding the display of artefacts, there is a difference of approach between the two professions. Archaeologists prefer to see objects as a whole (with in-fills clearly discernible). Conservators show a slight preference for only adhering fragments, but take other issues and considerations into account. Salter's (2005) research was used to confirm that provenance is intact for five artefacts and incomplete for one. A non-invasive examination of the objects identified various issues that need to be addressed. These are: failing adhesives that are damaging break edges; the presence of salts and concretions; fragile surfaces and fabrics; structural weakness; loss areas that impair interpretation; and past restorations. Analysis and treatment proposals (in order of urgency) have been outlined. It is recommended that research, analysis and mock tests be conducted before proceeding with treatment. An analytical path was developed for the identification of adhesives. This involved procuring a selection of adhesive samples likely to have been used in the past and assessing a spectrum of visual, chemical and instrumental analysis options. Results found that simple analysis methods like appearance, UV fluorescence and solvent solubility, which would be available to most conservation laboratories, are useful in the identification of natural products such as shellac and animal glues. With the assistance of chemical spot tests, animal glues and cellulose nitrate are identifiable. However, FTIR is required to differentiate between the poly(vinyl acetates) and acrylics. The adhesive analytical path developed was used to identify four adhesive samples obtained from the artefacts. These are: cellulose nitrate, UHU-all purpose, HMG-B72 and possibly superglue. Therefore with the exception of superglue, easily reversible adhesives have been used to repair this particular group of archaeological pottery, so removal is possible using acetone or thermal methodologies. The superglue identification is inconclusive, indicating that future work should access more control samples and examine the effect of accelerated aging on adhesive identification techniques. The long-term instability of cellulose nitrate is demonstrated on two artefacts. Concern is raised regarding the formulation of HMG-B72, its stability and/or its correct application on one of the artefacts. To resolve formulation issues the use of GC/MS should be investigated. Future work should: develop analytical paths for the identification of other intervention materials associated with the artefacts; conduct mock tests to determine optimal adhesive removal and application (consolidation and adhesion) methods for fragile pottery; and ultimately proceed with treatment.
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ItemEnglish trade letterpress bookbinding 1800-1850: an investigation of materials & techniques( 2005)This minor thesis investigates the materials and techniques used in trade letterpress bookbinding in England in the period 1800-1950. It is through the knowledge and understanding of such historical binding structures that the benefits and disadvantages of certain styles can be assessed. This knowledge also allows more sympathetic conservation of books from the era. In Part 1, the background of the bookbinding trade in England is discussed, to place the body of the study into context. In Part 2, nineteenth century texts and manual shave been examined, and that information is combined with the information derived from a survey of more modern texts about bookbinding history. Materials and techniques are described, and the changes seen during this period are discussed. This is supplemented by a series of case studies, contained in Appendix I, of early nineteenth century trade bookbindings.
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ItemThe fading behaviour and colour matching of fluorescent acrylic paint( 2005)Colour matching aged fluorescent paint in a manner that allows the original media and the colour match to fade synchronously is a formidable task. It is however a task that can become less daunting through comprehension of the paints fading behaviour. It is the aim of this research project, to familiarise the reader with the fading behaviour of fluorescent acrylic paints, and as a corollary suggest a viable option to colour matching its deteriorated state, with a media that combats asynchronous fading. The methodology employed, involves exposing six of Kremer's fluorescent pigment range in various acrylic binders, to accelerated aging for seven weeks. The optical progress of these samples will be monitored with UV/VIS and fluorescence spectrophotometry; the chemical progress of these samples will be monitored with FTIR ATR.
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