Visit our conference website www.abc-nz.org
ABC Auckand Chapter are conducting a tour on Labour Day following the conference, that includes a visit to the bindery at MOTAT, Spiral Path book studio and Elizabeth Steiner's Bindery, click on this LINK for more information.
Kate Papierniak from Australia has recently updated her biography and abstract see the following for details.
ABC Auckand Chapter are conducting a tour on Labour Day following the conference, that includes a visit to the bindery at MOTAT, Spiral Path book studio and Elizabeth Steiner's Bindery, click on this LINK for more information.
Kate Papierniak from Australia has recently updated her biography and abstract see the following for details.
BIOGRAPHY
Kate holds both a Bachelor of Arts (Cultural Heritage Studies), a Diploma in Materials Conservation and Certificate in Art Authentication. She specialises in conservation treatment of paper-based materials, books and photographs, art authentication and heritage significance assessment. Kate has worked at the State Library of Western Australia and the Lawrence Wilson Art Gallery at the University of Western Australia. The majority of her working life Kate has spent in private enterprise, including running her own conservation business.
In 2008, Kate established the Preservation Foundation to promote and undertake preservation of culturally significant heritage materials from underfunded collections in both private and public sectors. Kate is a professional member of the Australian Institute for Conservation of Cultural Material since 2010.
ABSTRACT
This paper will discuss conservation treatment of a historical sketchbook comprising works by many Italian artists. This art reference book is an example of similar manuscripts widely created in 18th century Europe. Artists used them as learning templates, visual resources, travel documentation or gifts.
Such a sketchbook was acquired by an Australian porcelain collector at the beginning of 20th century and kept by a family ever since. Reportedly the book belonged to Conrad Martens. However, no documentation was retained to attest its provenance. The investigation and examination of the materials guided the provenance research in corroborating ‘hearsays’ with facts.
Conservation treatment of this historical art sketchbook presented a number of thought-provoking aspects and challenges to do with preserving the appearance of the volume and its physical and chemical stability. The treatment of this manuscript may represent a reversal of the recent trend in stripping the books for their plates. In this particular case, plates removed earlier were de-framed and inserted back to the text block.