N E W S L E T T E R - ICOM-CC

Transcription

NEWSLETTER
Working group: Leather & related Materials
Groupe de travail: Cuir & Matériaux associés
N°2
CONTENTS
FROM THE CO-ORDINATOR
FROM JAN WOUTERS on behalf of the Directory
1
1
Board of ICOM-CC
THE HAGUE TRIENNIAL MEETING
2
Accepted abstracts
Information
CONFERENCE REPORTS
3
RESEARCH
PUBLICATIONS
EXHIBITIONS
FORTHCOMING MEETINGS/CALL FOR PAPERS
COURSES
NOTICES
NEWSLETTER NOTES
2004
abstracts of a very high quality. Thank you very much
for your great efforts! The next task of editing and
ranking the full papers for The Hague will be done in
coming weeks.
Looking forward to see you again at latest during this
meeting next September, Mariabianca and Céline join
me in sending you our warmest wishes for a peaceful
Christmas time and a good start into a prosperous and
healthy New Year.
Sincerely yours,
Athens interim meeting
PROJECTS
November/Novembre
5
5
9
10
10
11
11
12
FROM THE CO-ORDINATOR
Dear colleagues,
with the great support of my Assistant-Coordinators
Mariabianca and Céline it’s possible to send you today
this Newsletter. A very interesting Interim Meeting lies
behind us with lovely venue, beautiful abstract preprints,
gracious hosts, well researched papers and posters and
avid attendees. From the participant comments it seems
that the most of them were enjoyed about the decision
to organize this meeting together with the Textiles and
the Legal-Issues-WG. Meanwhile I’ve got from the
majority of the presenters their finished papers for the
planned Postprints.
The extended deadline for the abstracts for the next
Triennial Meeting in The Hague was few days after
Athens. The members of our Working Group sent
Andreas Schulze
FROM JAN WOUTERS
On behalf of the Directory Board of ICOM-CC
I would like to confirm now the creation of a
membership status of ICOM-CC, different from the one
which is generated through ICOM membership. Indeed,
the ICOM-CC Fund is now active and has received more
than 100 registrations so far for a membership status
called "Friend-" or "Student-Friend of ICOM-CC". All
relevant information on either ICOM-CC membership
may be found at the ICOM-CC website at www.icomcc.icom.museum .
In the past and till today, membership lists of individual
working groups were composed of ICOM members, who
had indicated ICOM-CC as the international committee
they were interested in, and of non-members. To this
will be added now also "Friends" and "Student-Friends".
Important actions that will further change working group
membership are listed below:
- from January 1st 2005 onwards, only working group
members, whatever their status, will have access to all
levels of information of the ICOM-CC website;
- from October 1st 2005 onwards, only working group
members who are either members of ICOM or (Student) Friends of ICOM-CC, will have access to all levels of
information of the ICOM-CC website;
- from January 1st 2006 onwards, all working group
2
members who are neither a member of ICOM nor a
(Student-)Friend of ICOM-CC must be removed from the
working group list.
Finally is it important to emphasize that ICOM-CC needs
members in order to continue rendering services and
organising meetings the way it has done in the past and
to try to do even better in the future! So, becoming a
registered member means giving support to your
professional network !
THE HAGUE TRIENNAL MEETING
ICOM-CC !4th Triennial meeting
Our cultural past-your future!
The Hague (Netherlands), 12-16 September 2005
ACCEPTED ABSTRACTS
A first selection of the abstracts submitted for the ICOMCC Triennial meeting in The Hague was made.
The final decision was taken by the ICOM-CC Editorial
Committee taking into account all comments received by
the WG Coordinators and by the members of the Peer
Review Committee, as well as any other relevant
factors.
Within the Leather and related Material WG there were
11 submissions for papers and 1 for poster.
Due to the high competition for this Triennial meeting
only 5 abstracts have been accepted by the Editorial
Committee as papers and 4 changed to posters, as
shown below.
Abstracts accepted as papers
Author/s
Title
J. Göpfrich,
B. Dreyspring
Fabulous beasts - Leather silk and
gold.
Recent
research
and
conservation of footwear of the 12
th century from the episcopal
tombs in the Trèves cathedral
The problems, considerations and
solutions during the conservation of
three gilt leather rooms in the
Netherlands: De Rozijnkorf, Het
Princessehof en Duivenvoorde.
The
technical,
stylistic
and
historical backgrounds of three gilt
leather rooms in the Netherlands:
De Rozijnkorf, Het Princessehof en
Duivenvoorde.
Leather Spue – a Problem with
Lubricant
Bookbinding leather in the paper
deacidification process. Part I:
Analytical investigation of the
leather
D. van Kempen*
E. F. Koldeweij*
U. Knuutinen
R. Larsen,
J. Wouters,
F. Juchauld,
A. Blüher
* Accepted as common paper with the title "Dilemmas
and solutions on the conservation treatments of three
gilt leather rooms in The Netherlands."
Abstracts accepted as posters
Author/s
Title
R. Selm
Research into a safe method to
extract excess lubricants from
leather – A preliminary report.
G .Abdel-Maksoud, The use of some techniques in
the investigation and conservation
N. Abdel-Fatha
of a bookbinding.
T. Aubry,
Sélection d’un cuir de tannage
végétal destiné à des traitements
C. Barbe,
de conservation sur des livres
F. Juchauld,
anciens, mise en place d’un
T. Phuong N
protocole de contrôle qualité.
Guyen
F.Juchauld,
Etude comparative de trois
méthodes de mise au ton du cuir
F. Richard
neuf utilisées en restauration.
M. Nimmo,
Gilded
leather,
multilingual
technical
lexikon:
a
proposal.
M. Paris
Unfortunately, due to limited space in the preprints, the
invitation to present papers and posters does not
guarantee acceptance and publication.
A final selection, based on quality of works presented,
will be made by March 6, 2005,
Thanks to all authors who presented abstracts.
) INFORMATION
Registration for the congress in the Hague has started
September 1, 2004 (please go on the website and click
on the registration form to register for the congress).
The fees for participating in the congress are:
Member, (student) Friend of ICOM-CC
Payment date
Before 1 December, 2004
€ 400,-
After 1 December, 2004
€ 450,-
On-site
€ 525,-
Non-member
Payment date
Before 1 December, 2004
€ 475,-
After 1 December, 2004
€ 525,-
On-site
€ 575,-
Newsletter n.2, 2004 – ICOM-CC WG Leather & related Material/Cuir & Matériaux associés
3
The congress fees cover:
−
−
−
−
−
−
conference pre-prints, a two volume set (c. 980
pages) plus CD-ROM;
full participation in the ICOM-CC Triennial Meeting
and 22 Working Group meetings;
access to ICOM-CC poster session as well as to
the trade fair;
choice of excursions on Wednesday the 14th;
social events (such as receptions);
farewell party (extra charge).
Website: http://www.icom-cc2005.org
CONFERENCE REPORT
Interim meeting of the ICOM-CC working group
‘Leather and related materials’, Recent preoccupations concerning Textiles, Leather and
Legal Issues
Byzantine and Christian Museum
Athens, 21-24 April 2004
This leather group interim meeting has taken place in
Athens with two other ICOM-CC’s working groups:
Textiles and Legal issues. Organised by the ICOM
Hellenic national committee, the Department of
Conservation of Antiquities and Work of arts and the
Technological Educational Institution of Athens (T.E.I.),
the meeting went off at the Byzantine and Christian
museum, in the centre of Athens.
The theme of the meeting was wide (“Recent
preoccupations concerning Textiles, Leather and
Legislation”) but the second day was specifically
dedicated to common conservation problems to leather
and textiles.
Regarding more specifically the leather group, at this
time coordinated by Andreas Schulze, assisted by
Céline Bonnot-Diconne and Mariabianca Paris
(unfortunately
not
present
at
this
meeting),
miscellaneous problems concerning history, study and
conservation have been approached.
One morning session has been dedicated to the
research and development of analytical methods. We
had the opportunity to listen to the explanations of Jan
Wouters about the problem of the pH measurement and
its relative exactitude. Heike Jerosch has presented the
general outlines of the European project IDAP
(Improved damage assessment of parchment), and also
the results on her works developed in the frame of this
project, oriented on the characterisation of the collagen
degradation products by liquid chromatography with
mass spectrometry detection.
In a more applied area, the speakers, scientists and
conservators came to expose their results about their
last researches on conservation and characterisation
methods.
Some communications were about the problem of the
lubricants. It was the subject of the communication of
Peter Hallebeek on the development of a method to
extract lubricants in leather, with high concentration of
fats, using supercritical carbon dioxide. At this time his
laboratory is studying all the parameters which influence
the process: temperature, pressure, solvent type,
humidity, homogenisation mode (rotation of the tank or
ventilation…). They will be systematically investigated in
order to optimise the results and to obtain the maximal
elimination of the lubricants combined with a
preservation of a satisfactory percentage of humidity.
Face to this communication, the poster proposed by
Gabriele Zink, exposed the problem of the white
blooming on archaeological wet leathers after
treatments with fatty agents, and the possible choice of
a mechanical way of cleaning. A staff, directed by
Ekaterini Malea, presented the rather promising results
of the cleaning methods using laser applied for the
removal of oil stains. Rosemarie Selm wanted to
present her results on the development of extraction of
fats in leather, but unfortunately due to technical
problems, her study has not been achieved in time, we
hope that the results will be published in the next
meeting. All these studies will give us the opportunity to
establish a new statement concerning the possible
solutions to solve the problem of the undesirable
lubricants.
The problem of coloration of leather was raised by Theo
Sturge in his study on dyes used for antique leathers. In
this first part (second part to follow), Theo Sturge has
tested the stability to daylight and the reversibility of
some dyes. Frédérique Juchauld and Françoise Richard
choose to assess the degradation of coloured new
leather after artificial ageing in function of the colouring
media. These two studies are in progress and we hope
that they will give us some help to select the right
colouring method for leathers in conservation.
Roy Thomson has given some details on the
experiments carried on at the Leather Conservation
4
Centre on the artificial ageing methods used to test the
leathers – tanned with chrome, alum, vegetable and mix
– and parchments. This study is a part of the European
project CRAFT whom the purpose is to develop a
bookbinding material with the best properties for long
term conservation.
the objects. We note moreover questions on the
methods and used products (for example the lubricants)
and an important need for characterisation of the leather
and its degradations. If the analytical methods exist, the
conservators pointed out that the difficulty is to perform
them because of the lack of laboratories accepting
these works.
Some communication subjects established the bond
between the two groups, leather and textiles : the
presentation of the Orlov berline gave us the opportunity
to listen to the history of this object, thanks to Vincent
Cochet its curator, then the more practical aspects of
restoration, performed by Céline Bonnot-Diconne for the
leather parts and Isabelle Bedat for the textiles.
On the same subject, the staff directed by Lucretia Miu
presented in a poster the works performed with some
tanneries and laboratories, in order to elaborate a
method to produce leather for conservation purpose.
Andreas Schulze pointed out the beginning in Germany
of a project on the same purpose. We also noted that
the French National Library choose on its side to begin
an investigation in the European zone in order to select
a leather for its own conservation workshop. So we can
say, with satisfaction, that the subject proposed by
Andreas Schulze during the last ICOM-CC meeting in
Rio de Janeiro is at that time the working subject of
different countries. The results of all these staffs will
probably be helpful for everyone who has to select a
conservation leather.
More oriented on the art history, the correlation work
established by Eloy F. Koldeweij between ornamental
patterns used for gilt leather and textiles showed the
exchange between the two corporations : “Gilt leather or
textiles : the same difference“.
It is important to point out that the leather group is
based on members of different professional domains:
conservators, scientists, historians and curators. As
some communications showed us, the restoration
phase can be a unique opportunity to study more deeply
an object.
Eva Halasz-Cziba showed the technical and lexical
problems often encountered by historians who are
interested in leather production, taking for example the
“Basan in France” and its different possible
corresponding materials.
Some areas in conservation-restoration of leather were:
archaeological and ethnographic artefacts, bookbinding
and decorative art were represented in communication
and posters : pontifical shoes of the 13th century (Lidia
Rissotto) ; an inuit beaded skin parka (Heather
Dumka) ; an african costume with painted rawhide and
raffia fabric (Jutta Göpfrich) ; chinese shadow puppets
(Lina Falcao) ; illuminated parchments with the 17th and
18th century family trees of the knights of Malta (Hanna
Szczepanowska) ; a bookbinding from the Islamic
musuem (Abdel-Maksoud Gomaa) ; a gilt leather
venetian shield (Céline Bonnot-Diconne et Jean-Pierre
Fournet) ; some antepedium and altar frontals in gild
leather from France and Italy (Michel Huet ; Marina L.
Regni et Sibylle Pino). For one and the same
constitutive material, the problems are often different
and conservators have always to adapt the methods to
During the closing speech, Andreas Schulze recalled
the most important subjects of the triennial program
(2002-2005) for the group “Leather and related
materials”:
•
Negative and positive influences of the various
conservation treatment;
•
Development, improvement and control of a good
quality leather for conservation, especially with
vegetable tannage;
•
Study of optimal environmental conditions for leather
artefacts;
•
History, uses and techniques for the making of
leather artefacts;
•
Research on methods for deacidification and
consolidation of heavily damaged leathers.
5
The construction of an internet website was demanded
in order to edit the newsletter, to collect other
informations like for example a list of suppliers and to
begin a discussion list.
The meeting closed with a round table with the
participation of the coordinators of the three working
groups, Jan Wouters as member of the directory board
of the ICOM-CC, and the members of the Hellenic
organisation committee. Some points were discussed
and among them the problem of the interim meetings
and their interest because some members think that
they can generate some concurrence to the triennial
meeting. Each one of the present coordinators
expressed their wish to maintain these interim meetings.
Among them Andreas Schulze who said that this
meeting type offers opportunities like the visit of some
institution in small groups.
The problem of the place to hold the next « leather and
related materials » interim meeting, planed for June
2007 was discussed. The ICOM-CC group “Graphic
documents” and the AIC group “Book and paper”
proposed to join them to their next interim meeting in
USA. But Andreas Schulze expressed his preference for
a new member of the European community in order to
give ICOM-CC members the opportunity to meet the
staffs of these new EC members and to visit their
means and also, thanks to reduced costs, to get more
participants.
We were very well welcomed during this week and we
thank a lot the organisation committee for the
excellence of its organisation, their available time and
also the Greek sun.
We thank a lot the Benaki museum curator who gave us
the opportunity to visit his wonderful collection by
opening the museum at night.
The acts will be published next year.
Report by: C. Bonnot Diconne, F. Juchauld
Translation by: H. Jerosch
For more informations
http://www.teiath.gr/sgtks/antiquities_works_art/ICOM_I
nterim_Meeting/
PROJECTS
A leather lexicon
A new project of historical and technical leather
vocabulary, initiated by our colleague Eva HalaszCsiba, will take place between 2004 and 2007. It is in
keeping with the framework of an interdisciplinary
research on the history of technical knowledge,
conducted in Paris by the “Centre d’Histoire des
Techniques” (CDHT) and the “Conservatoire National
des Arts et Métiers” (CNAM). The first step will be to
constitute a corpus of sources and lexicons concerning
materials and techniques specific to leather
professions, including a technical index of leather
decoration, situated in France and registered between
the 14th and 19th century. At a second stage a
methodical standardized vocabulary of ancient terms
will be structured, and a typology of leather
manufactured artefacts will be supplied.
Information: [email protected]
RESEARCH
LES CUIRS DORES ANCIENS EN FRANCE1
par Jean-Pierre FOURNET2
ECOLE DU LOUVRE, PARIS
Mémoire de recherche approfondie dirigé par M. Daniel
ALCOUFFE
Soutenu le 30 septembre 2004
Résumé (*)
Les cuirs dorés furent utilisés dans toute l’Europe,
surtout du XVIe au XVIIIe siècle, pour décorer l’intérieur
des plus riches demeures. Ils furent employés pour
confectionner des tentures murales mais aussi des
paravents, des tapis de table, des dessus de lit; on en
recouvrit des sièges et des coussins; dans le domaine
religieux ils servirent à faire des devants d’autel et
parfois des vêtements sacerdotaux. Leur histoire fut en
réalité très longue puisqu’ils apparurent à Cordoue à la
fin du premier millénaire, peu après la conquête arabe;
leur technique de fabrication s’inspirait des méthodes
couramment employées en Afrique du Nord et au
Moyen Orient.
Les cuirs dorés ne sont pas définis par l’existence d’or
dans le décor mais par la présence à la surface du cuir
d’une feuille d’argent qui prenait un aspect doré après
l’application sur sa surface polie d’un « vernis jaune »
obtenu à partir de résines végétales. De façon
paradoxale on pourrait dire que c’est la présence de la
feuille d’argent qui définit le cuir doré. Quand on
n’appliquait pas de « vernis jaune » la couleur de
l’argent restait apparente; on parlait alors de « cuir
argenté ». Les autres techniques décoratives,
facultatives d’ailleurs, étaient appliquées secondairement: impression des dessins à la plaque, estampage,
repoussé, ciselure, peinture.
Bien qu’ils aient connu une grande vogue pendant
1
J. P. FOURNET, 2004, Les cuirs dorés anciens en France,
Paris : Ecole du Louvre, mémoire de recherche approfondie
sous la direction de D. Alcouffe, 11 t., 1739 p.
2
Adresse : 226, boulevard Saint-Germain, F-75007 PARIS. Email : [email protected]
6
plusieurs siècles les cuirs dorés sont ensuite tombés
dans l’oubli et aujourd’hui encore ils restent largement
méconnus. Le but de la présente étude est de
rassembler les connaissances actuelles sur ce que
furent ces luxueux décors en France. 1. Dans une
première partie est retracée l’histoire générale des cuirs
dorés, histoire qui fut européenne mais où la France eut
largement sa place; 2. dans un second temps est
étudiée une des plus importantes fabriques de cuir doré
de la vallée du Rhône, l’atelier de la famille Boissier à
Avignon dont une partie de la production a pu être
identifiée; 3. enfin est présenté un répertoire illustré
détaillé des principales oeuvres en cuir doré encore
conservées dans notre pays.
y étaient fabriqués étaient comparables à ceux qui
provenaient d’Espagne, c’est à dire plats et ciselés. En
1628, à La Haye, Jacob Dircsz. de Swart inventa la
technique révolutionnaire du repoussé qui permettait de
réaliser des représentations nouvelles avec des motifs
variés en très fort relief. Ces nouveaux décors furent
immédiatement appréciés et vite copiés. Ces cuirs
dorés hollandais en fort relief furent exportés dans toute
l’Europe et même jusqu’au Japon. Curieusement la
plupart des fabriques des Pays-Bas du Nord
interrompirent leur activité dans les dernières décennies
du XVIIe siècle. On continua cependant à fabriquer des
cuirs dorés dans le pays au XVIIIe siècle mais les
ateliers de cette période sont mal connus.
1. Les cuirs dorés semblent avoir existé dés le IXe siècle
en
Andalousie.
Appréciés
partout
ils
furent
secondairement fabriqués dans la plupart des grandes
villes d’Espagne mais on connaît mal leur histoire
jusqu’aux XIVe ou XVe siècles. Les exemplaires les plus
anciens actuellement conservés semblent dater de
cette époque mais ils sont rares. L’apogée des cuirs
dorés espagnols fut atteint au XVIe siècle ; leurs décors
représentaient alors tantôt les formes géométriques
répétitives du style mudejar d’inspiration islamique,
tantôt des motifs de la Renaissance. Initialement les
contours des dessins étaient portés au moyen d’une
planche gravée et encrée. Puis on utilisa l’estampage
qui déterminait un léger relief. Les décors étaient
ensuite peints et complétés par une abondante ciselure
réalisée aux « petits fers ». Les cuirs dorés espagnols
ne comportèrent donc jamais de fort relief comme ce fut
le cas plus tard dans la plupart des autres pays. Au
XVIIe siècle l’industrie des cuirs dorés espagnols
périclita. Les cuirs dorés ne disparurent pas pour autant
d’Europe, bien au contraire. Pendant le Moyen Âge déjà
les Espagnols avaient exporté beaucoup de cuirs
utilitaires et ornementaux; l’engouement des cours
princières et des aristocraties européennes pour les
cuirs dorés s’exacerba au XVe et surtout au XVIe siècle.
La demande fut telle que des ateliers s’installèrent dans
la plupart des pays européens; les cuirs dorés y
atteignirent leur plus grande célébrité au XVIIe siècle. Ils
disparurent presque partout dans la seconde moitié du
XVIIIe siècle.
Les premiers ateliers des Pays-Bas du Sud – actuelle
e
Belgique – furent créés au début du XVI siècle. Au
e
XVII siècle les ateliers les plus fameux se situaient à
Malines et à Bruxelles. Les fabricants adoptèrent
rapidement la technique du repoussé mise au point à la
Haye en 1628; les décors furent d’ailleurs souvent
voisins de ceux des Pays-Bas du Nord. Toutefois dans
les ateliers des Pays-Bas du Sud on continua à
fabriquer des tentures historiées de cuir doré plat; au
XVIIe siècle elles représentaient volontiers des scènes
de l’Antiquité ou de l’Ancien Testament.
En Italie les premiers ateliers apparurent vers la fin du
e
e
XV siècle. Dès le XVI siècle on fabriquait des cuirs
dorés dans nombre de grandes villes de la péninsule
mais Venise fut certainement le centre le plus important.
Les décors étaient inspirés par les motifs de la
Renaissance mais ils subirent aussi de fortes influences
islamiques. Au XVIIe siècle les décors des cuirs dorés
italiens furent influencés par l’art baroque.
Dans les Pays-Bas du Nord les premiers ateliers ne
furent créés qu’au début du XVIIe siècle, d’abord à La
Haye puis à Amsterdam. Initialement les cuirs dorés qui
En Angleterre se développa aussi une industrie des
cuirs dorés à partir du XVIIe siècle. La plupart des
fabricants exerçaient à Londres; influencés par les
fabrications hollandaises ils adoptèrent vite la technique
du repoussé mais peu de décors en relief ont été
conservés. Dans la première moitié du XVIIIe siècle les
fabricants anglais excellèrent dans la fabrication de
cuirs dorés plats ciselés décorés de « chinoiseries » ;
beaucoup de ces décors ornaient des paravents dont
on connaît encore aujourd’hui divers exemplaires.
D’autres pays européens ont aussi fabriqué des cuirs
dorés: le Portugal, l’Autriche, l’Allemagne et même la
Pologne; mais on sait fort peu de choses sur leur
production.
En France c’est au XVIe siècle que l’engouement de
l’aristocratie se manifesta pour les cuirs dorés
espagnols; les commandes de Catherine de Médicis
figurent parmi les plus célèbres. De grandes quantités
de ces décors furent importées. Dans le même temps
furent créés les premiers ateliers français, notamment
celui de Jehan Fourcault qui fournissait la famille royale.
Au XVIIe siècle plusieurs ateliers furent installés,
notamment à Paris sous l’impulsion de Henri IV et de
Sully, mais on ne connaît rien de leur production. Il y
avait aussi des fabricants à Rouen et à Lille mais c’est
dans la vallée du Rhône et en Provence que l’industrie
des cuirs dorés fut certainement la plus florissante; il y
avait des ateliers à Lyon et plus au sud à Carpentras, à
Aix-en-Provence, à Marseille et surtout à Avignon.
Avignon fut un centre de fabrication très important et au
7
XVIIe siècle la production avignonnaise était florissante;
des cuirs dorés de cette époque sont toujours
conservés et permettent de connaître leurs
caractéristiques. Il s’agit habituellement de cuir de
mouton travaillé au repoussé.
Au XVIIIe siècle deux centres de production dominaient
l’industrie des cuirs dorés en France: Paris et Avignon.
A Paris le fabricant le plus renommé était Jean-Baptiste
Delfosse, fournisseur de la famille Royale et de la cour.
Malheureusement tous les décors qu’il a réalisés –
comme ceux de ses concurrents - ont disparu; grâce
aux descriptions du Journal du Garde Meuble de la
Couronne on connaît toutefois les motifs qu’il proposait,
composés surtout de fleurs, de fruits, de feuillages
souvent agrémentés d’oiseaux.
Fig. 1 - Carreau d’une tapisserie de cuir doré, France,
Fig. 3 - Détail de la tenture en cuir doré repoussé de l’hôtel
e
vallée du Rhône, deuxième moitié du XVII
siècle.
de ville d’Aix-en-Provence, Bouches-du-Rhône (France),
Collection particulière, France, Région Rhône-Alpes.
France, Avignon, atelier de Raymond Boissier, 1738.
Deux groupes stylistiques principaux peuvent être
individualisés; il y a d’une part des cuirs dorés très
élégants faits de rinceaux, de fontaines, de putti et
d’oiseaux, vrais décors « aristocratiques » (fig. 1)
inspirés des dessins des grands ornemanistes de
l’époque; il y a d’autre part, conservés en beaucoup
plus grand nombre, des décors plus « populaires » (fig.
2) essentiellement faits de fleurs et de feuillages, de
facture plus simple, plus massive, voire plus naïve, avec
des représentations peu naturalistes mais très vivement
colorées, telles celles qu’on trouve encore aujourd’hui
sur de nombreux devants d’autel.
A Avignon les productions de cuir doré semblent avoir
été aussi nombreuses et variées qu’au siècle
précédent; les décors, aux reliefs moindres, s’inspiraient
des différents styles successifs du XVIIIe siècle.
e
A cette époque, comme au XVII siècle, on peut encore
distinguer les élégants décors « aristocratiques » (fig.
3), faits de gracieux rinceaux, de volutes bien
dessinées, de croisillons bien ordonnés et de palmettes
et les décors plus « populaires » (fig. 4), faits de motifs
floraux très colorés mais souvent bien peu naturalistes.
Fig. 4 - Devant d’autel en cuir doré repoussé, France,
e
vallée du Rhône, deuxième quart ou milieu du XVIII siècle.
Cerzat, Haute-Loire (France), église.
Fig. 2 - Carreau d’un devant d’autel en cuir doré repoussé,
e
France, vallée du Rhône, deuxième moitié du XVII siècle.
Montgenèvre, Hautes-Alpes (France), église.
2. Les cuirs dorés qu’on peut dorénavant attribuer à
l’atelier de la famille Boissier illustrent bien la production
avignonnaise. Cet atelier, tenu de père en fils pendant
quatre générations et actif pendant plus d’un siècle, a
certainement été le plus important d’Avignon. Le
personnage le plus connu de la famille, Raymond
Boissier, avait publié en 1712 un catalogue de vente
8
détaillé dont un exemplaire est conservé; il y décrivait,
en les numérotant, quarante décors dont la quasi
totalité a pu être identifiée sur des tentures conservées
dans quatre collections.
rapprochées. Les autres tentures comparables ont en
effet toutes été perdues. La perte récente des trois
tapisseries du musée du château de Lunéville n’en
apparaît que plus navrante. Les importantes séries de
cuirs dorés historiés de l’atelier de la famille Boissier à
Avignon, pratiquement seuls cuirs dorés historiés
français connus, représentent un autre groupe,
totalement différent tant par les thèmes représentés que
par l’origine et la datation.
Les cuirs dorés décoratifs constituent un groupe
beaucoup plus conséquent; ils fournissent un
échantillonnage significatif de décors anciens. La
plupart d’entre eux sont de fabrication française mais
certains proviennent des Pays-Bas et d’Italie; les cuirs
dorés anglais, peu nombreux, sont essentiellement
représentés par les paravents à décor de
« chinoiseries ».
Fig. 5 - Femme en costume turc, 1,16 x 0,58 m, Avignon,
atelier de R. Boissier, vers 1700. Marseille, Bouches-duRhône (France), musée Grobet-Labadié.
Plusieurs autres décors, notamment une importante
série de personnages portant des costumes turcs (fig.
5), italiens ou allemands, ont pu également être
attribués au même atelier.
3. Pour mieux connaître et classer les cuirs dorés
anciens conservés en France il est apparu opportun de
rechercher méthodiquement la plus grande quantité
possible d’oeuvres encore existantes dans le domaine
public et dans les collections privées accessibles. Plus
de sept cent cinquante spécimens ont été retrouvés.
Parmi les exemplaires répertoriés il convient de
distinguer deux groupes très différents: les cuirs dorés
historiés et les cuirs dorés décoratifs.
Les cuirs dorés historiés, donc à personnages,
représentent le groupe le moins fourni numériquement
mais il est prestigieux. La tenture de l’hôtel Lambert à
Paris, datant du XVIIe siècle, met en scène le
spectaculaire défilé du Triomphe de David; c’est une
entité unique vraisemblablement originaire des PaysBas. Les deux ensembles du château d’Ecouen (Héros
romains et Histoire de Scipion) doivent aussi être
considérés comme d’exceptionnels chefs-d’œuvre:
originaires des Pays-Bas du Sud vraisemblablement
elles datent de la première moitié ou du milieu du XVIIe
siècle. Seules les tentures de l’Histoire d’Antoine et
Cléopâtre du château de Dunster en Angleterre et
celles du Siège de Vienne par les Turcs du château de
Drottningholm en Suède peuvent dorénavant leur être
La répartition géographique des cuirs décoratifs
conservés en France n’est pas homogène. Les trois
zones les plus richement dotées sont la Région Ile-deFrance, le sud-est de la France et les Pyrénées. En
région parisienne les deux centres de conservation les
plus importants sont le musée des Arts Décoratifs à
Paris et le musée national de la Renaissance au
château d’Ecouen. Dans le sud-est de la France se
trouve concentrée une grande quantité de devants
d’autel toujours en place, pour la plupart, dans les
églises et chapelles. Ce sont habituellement des cuirs
dorés français caractéristiques des productions de la
vallée du Rhône et très vraisemblablement d’Avignon
mais il existe aussi dans cette région quelques
exemplaires de cuirs dorés italiens. Dans les Pyrénées
la plupart des cuirs dorés conservés sont des devants
d’autel français, de type avignonnais, en place, eux
aussi, dans les lieux de culte. Les départements qui
conservent les plus grandes quantités de devants
d’autel en cuir doré sont donc des départements de
montagne.
Les collections particulières conservent le plus souvent
des petits panneaux, parfois des carreaux isolés.
Cependant il a été retrouvé un peu plus de cinquante
demeures dans lesquelles une pièce entière avait ses
murs recouverts de cuirs dorés tantôt français, tantôt
italiens, tantôt des Pays-Bas. Ces tentures étaient
toutefois rarement en place depuis l’origine.
Un caractère ressort fréquemment de l’observation de
la plupart des cuirs dorés, français comme étrangers :
c’est la parenté fréquente de leurs décors avec ceux
des tissus de l’époque.
Les cuirs dorés ont donc largement contribué à orner la
plupart des grandes demeures, en France comme dans
toute l’Europe, de la Renaissance jusqu’au dernier quart
du XVIIIe siècle; très vite ensuite ils sont presque
totalement tombés dans l’oubli. Certes à la fin du XIXe
siècle il y eut, notamment en France, des tentatives de
9
reprise de leur fabrication mais elles furent éphémères;
d’ailleurs les techniques comme les matières n’étaient
plus comparables.
(*) The English translation of this summary will be
published on the next issue of the Newsletter.
PUBLICATIONS
As publications about leather and its artefacts are rare,
we thought useful to draw the attention in this
newsletter to less known texts - articles, monographs,
dictionary articles, catalogues, etc. which not
concerning directly the conservation practice, are
therefore difficult to find in the data banks specialized
in our field. Clearly our aim is to promote among the
scholars the circulation of scarcely publicized
information about new artefact typologies and their
manufacture, the use of materials and technical
instruments, the development of ornamental language.
We trust in the contribution of all the group members
for the discovery and diffusion of these less publicized
references.
■■■■
A. Della Latta, Cuoio, article in the dictionary Arti
minori, edited by C.Piglione, F.Tasso, Jaca Book,
Milano 2000, pp.145-152.
The article is divided in seven chapters (1. Preface, 2.
Lexicon, 3. Middle Age, 4 Modern Age, 5. Wall
hangings, 6. Nineteenth Century, 7. Museums and
Collections) with the aim of retracing the history of
leather arts in Europe through the illustration of some
of the more relevant and studied periods. Ample
references are provided.
■■■■
A. Della Latta, A propos d’un coffret en cuir. Les
Scènes de la Passion de Lucques: arts décoratifs et
arts majeurs en Flandres vers 1400, Revue de l’art,
134 (2001), 4, pp.61-74
■■■■
G. Alteri, A.Coliva (edited by), Una collezione da
scoprire. Capolavori dal ‘500 al ‘700 dell’Ente Cassa di
Risparmio di Roma, exhibition catalogue, Roma,
Museo del Corso, 2 feb. - 31 mar. 1999, Edizioni De
Luca, Roma 1999, forms. 6-7, pp. 40-42.
The collection of the Cassa di Risparmio di Roma,
exhibited for the first time at the Museo del Corso
during 1999, includes two paintings on gilt leather of
considerable size (247 x220 cm), attributed to the
painter Tommaso Luini or Donini called the
Caravaggino (1601-1637).
They represent The celebration of the constitution of
the Christian League in 1538 and The celebration of
the building of Cornaro Palace and they belonged to a
series presently dispersed which probably decorated
the roman palace of the Cornaro family.
The exhibition catalogue dedicates to these paintings
accurate analytical data forms.
The Museo della Cattedrale di Lucca keeps a basket
in embossed, gilded and polycromed leather which
enables us to analyse a whole set of handcrafts of the
French and Flemish
late Middle Age and their
relations with the major art of the same period. It dates
before 1401 when, its former owner, Alderigo degli
Antelminelli died in Bruges. He was a banker and
merchant from Lucca who had been living in the
Flemish area from some years. This casket is an
important memory of the artistic and trade relationship
between Lucca and Flanders during the late Middle
Age. One of the most remarkable characteristics of
this casket, conceived as a portable altar, is the
osmosis of different techniques. It can be considered
the masterpiece in a little corpus along with other two
caskets. Comparing them we can observe similarities
and differences which give us clues for a common
environment where different workshops worked at
different times. Considered a franco-flemish work,
actually its style and iconography show that the master
had knowledge of the contemporary art in Germany
and eastern regions of Flanders, and that perhaps he
did his training in the area between the duchy of
Brabant and the Rhine.
10
■■■■
FORTHCOMING MEETINGS/ CALLS FOR PAPERS
J. Swann, History of Footwear in Norway, Sweden
and Finland, Alamqvist & WiKsell International,
Stockolm 2001, 357 pages (Price: approx. US $
80,00))
LACONA VI - Lasers in the Conservation of
Artworks, 6th International Congress on Lasers in
the Conservation of Artworks
Vienna, 21-25 September 2005
■■■■
Q. Mould, I. Carlisle, E. Cameron, Leather and
leatherworking in Anglo-Scandinavian and Medieval
York, The Archaeology of York, The Small Finds
17/16, Craft Industry and Everydaylife, York 2003, 350
pages.
■■■■
Ledertapeten
–
Bestände,
Erhaltung
und
Restaurierung.
Staatliche Schlösser, Burgen und Gärten Sachsen
und Landesamt für Denkmalpflege Sachsen,
Michel Sandstein Verlag, Dresden 2004
ISBN: 3-937602-25-9 (Price: 25,00 EUR)
On the occasion of the reopening of the so-called
Damenbildniszimmer in Moritzburg Castle near
Dresden after years of conservation and restoration,
a symposium about gilt leather wallhangings took
place in November 20-21, 2003. The contributions
were dedicated to the results of scientific researches
and experiences of practical conservation work on gilt
leathers of Moritzburg Castle and in Saxony.
Different aspects of natural science concerning these
objects and actual conservation projects in Germany
were also discussed. An important enrichment for this
publication were the papers given by colleagues from
the Netherlands (Dr. Eloy Koldeweij), Belgium (Dr.
Jan
Wouters)
and
Poland
(Dr.
Agniezka
Bender). All the papers are published in a book as
postprints in German language.
) The publication will be available in mid December
and can be ordered at the following e-mail address:
[email protected]
This congress addresses scientists, conservatorrestorers, companies, architects, decision-makers and
other experts involved in conservation projects or in the
research of new laser equipment. As a supplement to
the scientific presentations, keynote speakers will
summarize the state of art in the specific disciplines.
Round table discussions will focus on a better cooperation between scientists, laser producers,
conservator-restorers and decision-makers. The first
part of the congress will be focussing to "ultra-new"
scientific results. The second part will be specifically
designed to users including case studies, experiences
and practical issues (even costs, economy,
accessibility etc.). In connection with the congress
there will be a small exhibition and demonstration of
laser tools.
The official congress language is English and the plan
previews: single session, a poster session, a round
table discussion, an excursion and a small exhibition.
Abstracts (including black/white figures or illustrations)
will be distributed during the conference. A special
volume will be published after the conference.
List of conference topics:
• Laser cleaning of monuments and artefacts (e.g.
stone, metal, glass, paper, parchment, paintings,
wood etc.), application and evaluation
• Laser for documentation and diagnosis of works of
art (3D-measurements, holography, vibrometry
etc.)
• Laser for material analysis (RAMAN, LIBS, LIF etc.)
• Laser for monitoring of environmental conditions
• Safety and health aspects
You are invited to submit abstracts for oral or poster
presentations, preferably in electronic form.
•
EXHIBITIONS
•
Cordovans I guadamassils de la Col.leccio Ramon
Genis i Bayés
Centre Cultural de Caixa de Girona
Fontana d’Or – c.Ciutadans, 19 – Girona
September 24 – Novembre 7, 2004
Obra in pell
Museu de l’Art de la Pell, Vic
October 7 – November 28, 2004
•
•
•
•
The abstract and should be single-spaced
throughout.
The abstract should be written with type face Times
and the font size should be 12.
Maximum 1 page, size A4 (i.e. 210x297mm) with
2.5 cm margins on all four sides.
The abstract should headed by title, author(s),
affiliation(s), address(es), e-mail.
The abstract should be informative with the
following disposition: (a) Objectives, (b) Methods,
(c) Results, (d) Conclusions.
Authors should indicate under which of the main
topics their presentation should belong
11
•
•
The abstract should also contain telephone
number, fax number and
e-mail address of the corresponding author.
Underline the name of the presenting author
Deadline for submission of abstracts is December 14,
2004
More information about LACONA VI is available from:
Congress Secretariat, LACONA VI
Tel: +43 (0) 1 7982146 37
Fax: +43 (0) 1 7982146 49
Email: [email protected]
Website: www.lacona6.at
COURSES
ICCROM-CCI International course on preventive
conservation: Reducing risks to collections
Rome (Italy), June 6-24, 2005
Organization
ICCROM (International Centre for the Study of the
Preservation and Restoration of Cultural Property)
CCI (Canadian Conservation Institute) in collaboration
with the CNM (Canadian Museum of Nature) and the
ICN (Netherlands Institute for Cultural Heritage)
The course
The purpose of the course is to discuss and practice
the risk management approach to conservation of
collections. Risk management can be understood not
only as the management of rare catastrophes, but also
as the management of slow continual hazards, and
everything between. It becomes an integrated view of
all expected damages and losses to collections. The
course will review the risk management concept and its
various current interpretations and applications in the
field of cultural heritage. Participants will be introduced
to a practical method to carry out a risk assessment
survey for collections in museums and archives. The
course will also examine recent research that is critical
to better estimates of risk, and thus to establishing
priorities. Special focus will be given to dynamic and
high- risk situations such as travelling exhibitions. In
this context, environmental standards and transit
guidelines will be critically discussed in the light of
recent knowledge.
Course methodology
The course will provide a wide range of learning and
teaching methods, such as workshops, case studies,
seminars, and presentations. Opportunities will be
provided for participants to share in a variety of large
and small group activities. Significant time will be
allocated for participants to consult with the course
staff, or to work in the ICCROM library on individual
projects of their choosing, related to the course topic.
Objective
By the end of the course, participants will be
conversant with the risk management approach and
able to apply it to their collections.
Participants
The course is designed for collection managers,
curators, registrars, conservators, and also directors of
small to medium size museums, galleries, and
archives. The course will also interest educators and
professionals who teach collection management and
preventive conservation, in either an academic or a
vocational environment. Candidates are invited to
submit with their formal application a 500-word
summary of their experiences, and how they anticipate
the course will relate to their current or future projects.
A maximum of 18 participants will be selected.
Teaching team
The team will be drawn from ICCROM, CCI, CNM and
ICN, and associated professionals.
Working language
English
Course fee
Euros 900
Scholarships
The organizers can offer scholarship support in a
limited number of circumstances. However, candidates
are expected to seek financial aid from other sources,
such as governments, employers, and foundations.
ICCROM is prepared to offer advice on efforts to seek
scholarship support. A minimum of Euros 1200 for
living costs would be required for the three-week
duration of the course in Rome.
Application
Please use the general ICCROM course application
form which is available at the address below or at the
ICCROM: http://www.iccrom.org
Preventive Conservation05 - Collections Unit
ICCROM
13, via di San Michele
I-00153 ROME RM, ITALY
Tel (+39) 06 585531 Fax (+39) 06 58553349
E-mail: [email protected]
Application deadline: 20 December 2004
NOTICES
• The Archaeological Leather Group (ALG)
The ALG promotes the study of leather and leather
objects from archaeological and other contexts.
12
Members come from a variety of disciplines and include
archaeologists,
historians,
scientists,
scholars,
conservators, artefact specialists and leather workers.
Activities
The Group provides a focus for the investigation of
leather, bringing together a broad range of knowledge
and experience both practical and academic.
Information which adds to understanding of leather is
explored, including its manufacture, function, context,
processing, recording, conservation, care and curation.
The Group meets twice a year. We usually organise one
scholarly meeting in the spring, and visit a museum,
working tannery or other place of leather interest in the
autumn. The Archaeological Leather Group Newsletter
is published twice a year, and we issue a
comprehensive and still expanding leather bibliography.
Publications
Conference proceedings are produced on a regular
basis by Archetype. Recent publications include:
- Leather and Fur: Aspects of Early Medieval Trade and
Technology, 1998
- Leather Wet and Dry: Current Treatments in the
Conservation of Waterlogged and Desiccated
Archaeological Leather, 2001
- In the Saddle, November 2004
Membership
We aim to keep the membership fee low; it is
presently £10 per annum. If you are interested in
joining the group, please use the website link
www.archleathgrp.org.uk to obtain a membership
form, or write to:
Roy Thomson, Treasurer,
Archaeological Leather Group
Leather Conservation Centre
University College Campus
Boughton Green Road
Northampton NN2 7AN
UK
• Laboratories on Science and Technology for the
conservation of European Cultural Heritage (LabS
TECH)
Please visit the site and get familiar with the LabS
TECH Network of researchers. ICOM-CC WG-members
are invited to contact relevant LabS TECH people for xlinking into collaboration on research and exchange of
information. Both LabS TECH and ICOM-CC can profit
from a closer collaboration. Although LabS TECH is a
EU-project this does not limit ICOM-CC colleagues from
all around the world to participate with ideas,
suggestions and active participation with the
researchers and their projects.
http://www.chm.unipg.it/chimgen/LabS-TECH.html
•
Like every 3 months the Metal Working Group
homepage is updated with the last BROMEC issue.
Please visit :
http://icom-cc.icom.museum/WG/Metals
NEWSLETTER NOTES
Submissions welcome
The various sections of the newsletter are open to the
collaboration of everybody. We are counting on your
active participation reporting news, information and
contributions
concerning
technologies
and
conservation of leather artefacts and the professional
aspects on this field.
Please send your submissions, not exceeding 1300
words, to:
Andreas Schulze
Coordinator
Landesamt für Denkmalpflege Sachsen
Schlossplatz 1
D-01067 Dresden
GERMANY
Tel. +49 (0)351 4914-445 / -418
Fax. + 49 (0)351 4914-477
Céline Bonnot-Diconne
Mariabianca Paris
Assistant Coordinators
Special thanks to the colleagues who contributed to
this number of the newsletter
Newsletter on line
This newsletter is available on the ICOM-CC website:
http://icomcc.icom.museum/WG/LeatherRelatedMaterials/
THIS ISSUE OF THE NEWSLETTER WAS FINALLY
REVIEWED ON
24 NOVEMBER 2004

N E W S L E T T E R - ICOM-CC

Transcription

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