Emma Le Cornu - Academia.edu (original) (raw)
Papers by Emma Le Cornu
Journal of The Institute of Conservation, Sep 1, 2012
Abstract Botanical illustrations record the physical characteristics of plants. As well as provid... more Abstract Botanical illustrations record the physical characteristics of plants. As well as providing a scientific record, the resulting paintings and drawings are often of great artistic merit. This article describes the conservation treatment and preparation of illustrations on vellum for exhibition and long-term storage, focusing on the collections of the Royal Botanic Gardens, Kew. Information is given on the history of the collections, their display at the Shirley Sherwood Gallery of Botanical Art during 2008–10 and their future preservation. Methods developed for the humidification, reshaping and mounting of paintings on vellum from the Kew collections are described. This article also reports on interviews with leading contemporary artists working on vellum. Aspects of their materials and working methods that relate to future conservation issues are recorded and future directions for collaboration between botanical artists and conservators are suggested.
Journal of The Institute of Conservation, Sep 1, 2011
Studies in Conservation, Sep 1, 2014
This collection of 23 watercolours of Chinese conifers was commissioned by the botanist Robert Fo... more This collection of 23 watercolours of Chinese conifers was commissioned by the botanist Robert Fortune (1812–1880) during his last journey to China 1853‒ 1856. Fortune is best known for introducing tea plants from China to India and introducing many new exotic plants and flowers to Europe. The pictures show full depictions of Chinese trees, and human figures carrying out various activities. The Chinese artist he employed stipulated that he would only make the pictures if allowed to put a human figure in each. The watercolours entered Kew’s collection in 1912, and had not received any treatment or re-housing, nor were they widely publicized. They were all housed in a leather portfolio and attached along the top edge to a poor quality portfolio page. The paintings are on a very thin and weak Chinese paper, making them extremely vulnerable (Fig. 1). They were much too fragile to be handled, viewed, or exhibited. Some had been torn and even completely split into two due to the unsuitable storage and attachment method. There was also very noticeable yellowing of the paper due to light exposure and/or degradation of additives in the paper. The aim of the conservation treatment was primarily to stabilize their condition, preventing further damage and deterioration, by removal from the current housing, repairs of structural damage, and re-housing to allow items to be viewed and exhibited. Owing to solubility of some of the pigments and the presence of copper greens, identified by the characteristic degradation of the pigment, with strikethrough to the verso and darkening of the pigment and 福瓊藏品中的23幅中國針葉樹水彩畫,是由植物學 家羅伯特.福瓊(1812–1880年)於1853–1856年最
Journal of the Institute of Conservation, 2012
Abstract Botanical illustrations record the physical characteristics of plants. As well as provid... more Abstract Botanical illustrations record the physical characteristics of plants. As well as providing a scientific record, the resulting paintings and drawings are often of great artistic merit. This article describes the conservation treatment and preparation of illustrations on vellum for exhibition and long-term storage, focusing on the collections of the Royal Botanic Gardens, Kew. Information is given on the history of the collections, their display at the Shirley Sherwood Gallery of Botanical Art during 2008–10 and their future preservation. Methods developed for the humidification, reshaping and mounting of paintings on vellum from the Kew collections are described. This article also reports on interviews with leading contemporary artists working on vellum. Aspects of their materials and working methods that relate to future conservation issues are recorded and future directions for collaboration between botanical artists and conservators are suggested.
Studies in Conservation, 2014
Botanical illustrations record the physical characteristics of plants. As well as providing a sci... more Botanical illustrations record the physical characteristics of plants. As well as providing a scientific record, the resulting paintings and drawings are often of great artistic merit. This article describes the conservation treatment and preparation of illustrations on vellum for exhibition and long-term storage, focusing on the collections of the Royal Botanic Gardens, Kew. Information is given on the history of the collections, their display at the Shirley Sherwood Gallery of Botanical Art during 2008–10 and their future preservation. Methods developed for the humidification, reshaping and mounting of paintings on vellum from the Kew collections are described. This article also reports on interviews with leading contemporary artists working on vellum. Aspects of their materials and working methods that relate to future conservation issues are recorded and future directions for collaboration between botanical artists and conservators are suggested.«La conservation des illustrations botaniques sur vélin : passé, présent et avenir»Les illustrations botaniques enregistrent les caractéristiques physiques des plantes. Bien plus qu'un dossier scientifique, ces peintures et dessins sont souvent d'une grande valeur artistique. Cet article décrit le traitement de conservation et la préparation des illustrations sur vélin pour les expositions et le stockage à long terme, en prenant pour exemple les collections des Jardins Botaniques Royaux à Kew. Des renseignements sont donnés sur l'histoire des collections, leur présentation à la Galerie d'Art Botanique Shirley Sherwood en 2008–10 et leur préservation à l'avenir. Les méthodes développées pour l'humidification, la remise en forme et le montage des peintures sur vélin des collections de Kew sont décrites. Cet article rapporte également des entretiens avec des artistes contemporains majeurs travaillant sur vélin. Des facettes de leurs matériaux et de leurs méthodes de travail ayant un rapport avec d'éventuelles questions de conservation sont enregistrées ; de futures orientations pour une collaboration entre des artistes botaniques et des restaurateurs sont suggérées.”Die Konservierung/Restaurierung Botanischer Illustrationen auf Velin“Botanische Illustrationen halten die Charakteristika von Pflanzen fest. Somit sind sie sowohl eine wissenschaftliche Dokumentation als auch Gemälde und Zeichnungen, die in vielen Fällen großen künstlerischen Wert besitzen. Dieser Artikel stellt die konservatorischen Maßnahmen, die getroffen wurden um Illustrationen auf Velin auf den Ausstellungsbetrieb und für die Lagerung vorzubereiten anhand von Beispielen aus der Sammlung der Royal Botanic Gardens in Kew dar. Die Geschichte der Sammlungen, die Ausstellung in der Shirley Sherwood Gallery of Botanical Art während 2008 bis 2010 und ihre zukünftige Konservierung und Restaurierung werden beschrieben. Zudem werden die Maßnahmen, die entwickelt wurden um die Gemälde auf Velin zu befeuchten, zu glätten und zu montieren aufgeführt. Der Artikel gibt auch Interviews mit führenden zeitgenössischen Künstlern wieder, die mit Velin arbeiten, wobei Aspekte ihrer Materialwahl und Arbeitsmethode wiedergegeben werden, die zukünftige restauratorische Maßnahmen beeinflussen könnten. Im Zuge dessen werden einige Regelungen für die Zusammenarbeit von botanischen Künstlern und Restauratoren vorgeschlagen."La conservación de las ilustraciones botánicas sobre vitela: pasado, presente y futuro"Las ilustraciones botánicas registran las características físicas de las plantas. Además de proporcionar un registro científico, las pinturas y los dibujos tienen, a menudo, un gran mérito artístico. En este artículo se describe el tratamiento de conservación y preparación de las ilustraciones en vitela para su exposición y para el almacenamiento a largo plazo y se centra en las colecciones del Real Jardín Botánico de Kew. Se ofrece información sobre la historia de las colecciones, su exhibición en la galería Shirley Sherwood de Arte Botánico durante el 2008-10 y su preservación en el futuro. También se describen los métodos desarrollados para humidificar, aplanar y montar estas pinturas de la colección de Kew. Además este artículo ofrece información sobre las entrevistas con los principales artistas contemporáneos que trabajan sobre pergamino. Se sugieren futuras colaboraciones entre artistas botánicos y conservadores sobre los materiales y métodos de trabajo y su relación con problemas de conservación.
Journal of The Institute of Conservation, 2011
The Marianne North project involved the restoration of the Marianne North Gallery at the Royal Bo... more The Marianne North project involved the restoration of the Marianne North Gallery at the Royal Botanic Gardens, Kew and the conservation of its contents. As part of this project, 830 oil paintings on paper were examined, documented and conserved. Treatments included consolidation of cracking and flaking media, surface cleaning, removal of acidic and deteriorated backing boards, removal or reduction of bloom and blanching, non-aqueous de-acidification, re-mounting and, where appropriate, in-painting.«La conservation de 830 peintures à l'huile sur papier de Marianne North»Le projet Marianne North a impliqué la restauration de la Galerie Marianne North aux Jardins Botaniques Royaux à Kew et la conservation de son contenu. Dans ce projet, 830 peintures à l'huile sur papier ont été examinées, documentées et conservées. Les traitements ont inclus une consolidation des craquelures et des écailles de media, le nettoyage de surface, le retrait des cartons de fond acides et détériorés, le retrait ou la réduction du chancis et du blanchiment, une désacidification non aqueuse, le remontage et des retouches lorsque c'était nécessaire.,,Die Restaurierung-Konservierung von 830 Ölgemälden auf Papier von Marianne North”Das Marianne-North-Projekt diente der Restaurierung der Marianne North Gallery der Royal Botanic Gardens in Kew und der Konservierung ihres Inhalts. Als Teil dieses Projekts wurden 830 Ölgemälde auf Papier untersucht, dokumentiert und konserviert/restauriert. Behandlungsmethoden beinhalten unter anderem die Festigung der rissigen und splitternden Farbschicht, Oberflächenreinigung, die Entfernung von sauren und geschwächten Rückenwänden, die Entfernung oder Reduzierung von Ausblühungen, nicht-wässrige Entsäuerung, Neurahmung und, soweit nötig, Retusche.“Conservación de 830 pinturas al óleo sobre papel de Marianne North”El proyecto sobre las obras de Marianne North conllevó la restauración de la Galería de Marianne North en el Real Jardín Botánico de Kew así como la conservación de todos sus contenidos. Como parte de este proyecto se examinaron, documentaron y conservaron 830 pinturas al óleo sobre papel. Los tratamientos consistieron en la consolidación de grietas y de áreas descamadas, la limpieza de la superficie, la eliminación del ácido y deteriorado material de soporte, la eliminación o reducción de zonas opacas y escaldadas y, posteriormente, una desacidificación no acuosa, nuevas monturas y retoques donde eran necesarios.
Journal of The Institute of Conservation, Sep 1, 2012
Abstract Botanical illustrations record the physical characteristics of plants. As well as provid... more Abstract Botanical illustrations record the physical characteristics of plants. As well as providing a scientific record, the resulting paintings and drawings are often of great artistic merit. This article describes the conservation treatment and preparation of illustrations on vellum for exhibition and long-term storage, focusing on the collections of the Royal Botanic Gardens, Kew. Information is given on the history of the collections, their display at the Shirley Sherwood Gallery of Botanical Art during 2008–10 and their future preservation. Methods developed for the humidification, reshaping and mounting of paintings on vellum from the Kew collections are described. This article also reports on interviews with leading contemporary artists working on vellum. Aspects of their materials and working methods that relate to future conservation issues are recorded and future directions for collaboration between botanical artists and conservators are suggested.
Journal of The Institute of Conservation, Sep 1, 2011
Studies in Conservation, Sep 1, 2014
This collection of 23 watercolours of Chinese conifers was commissioned by the botanist Robert Fo... more This collection of 23 watercolours of Chinese conifers was commissioned by the botanist Robert Fortune (1812–1880) during his last journey to China 1853‒ 1856. Fortune is best known for introducing tea plants from China to India and introducing many new exotic plants and flowers to Europe. The pictures show full depictions of Chinese trees, and human figures carrying out various activities. The Chinese artist he employed stipulated that he would only make the pictures if allowed to put a human figure in each. The watercolours entered Kew’s collection in 1912, and had not received any treatment or re-housing, nor were they widely publicized. They were all housed in a leather portfolio and attached along the top edge to a poor quality portfolio page. The paintings are on a very thin and weak Chinese paper, making them extremely vulnerable (Fig. 1). They were much too fragile to be handled, viewed, or exhibited. Some had been torn and even completely split into two due to the unsuitable storage and attachment method. There was also very noticeable yellowing of the paper due to light exposure and/or degradation of additives in the paper. The aim of the conservation treatment was primarily to stabilize their condition, preventing further damage and deterioration, by removal from the current housing, repairs of structural damage, and re-housing to allow items to be viewed and exhibited. Owing to solubility of some of the pigments and the presence of copper greens, identified by the characteristic degradation of the pigment, with strikethrough to the verso and darkening of the pigment and 福瓊藏品中的23幅中國針葉樹水彩畫,是由植物學 家羅伯特.福瓊(1812–1880年)於1853–1856年最
Journal of the Institute of Conservation, 2012
Abstract Botanical illustrations record the physical characteristics of plants. As well as provid... more Abstract Botanical illustrations record the physical characteristics of plants. As well as providing a scientific record, the resulting paintings and drawings are often of great artistic merit. This article describes the conservation treatment and preparation of illustrations on vellum for exhibition and long-term storage, focusing on the collections of the Royal Botanic Gardens, Kew. Information is given on the history of the collections, their display at the Shirley Sherwood Gallery of Botanical Art during 2008–10 and their future preservation. Methods developed for the humidification, reshaping and mounting of paintings on vellum from the Kew collections are described. This article also reports on interviews with leading contemporary artists working on vellum. Aspects of their materials and working methods that relate to future conservation issues are recorded and future directions for collaboration between botanical artists and conservators are suggested.
Studies in Conservation, 2014
Botanical illustrations record the physical characteristics of plants. As well as providing a sci... more Botanical illustrations record the physical characteristics of plants. As well as providing a scientific record, the resulting paintings and drawings are often of great artistic merit. This article describes the conservation treatment and preparation of illustrations on vellum for exhibition and long-term storage, focusing on the collections of the Royal Botanic Gardens, Kew. Information is given on the history of the collections, their display at the Shirley Sherwood Gallery of Botanical Art during 2008–10 and their future preservation. Methods developed for the humidification, reshaping and mounting of paintings on vellum from the Kew collections are described. This article also reports on interviews with leading contemporary artists working on vellum. Aspects of their materials and working methods that relate to future conservation issues are recorded and future directions for collaboration between botanical artists and conservators are suggested.«La conservation des illustrations botaniques sur vélin : passé, présent et avenir»Les illustrations botaniques enregistrent les caractéristiques physiques des plantes. Bien plus qu'un dossier scientifique, ces peintures et dessins sont souvent d'une grande valeur artistique. Cet article décrit le traitement de conservation et la préparation des illustrations sur vélin pour les expositions et le stockage à long terme, en prenant pour exemple les collections des Jardins Botaniques Royaux à Kew. Des renseignements sont donnés sur l'histoire des collections, leur présentation à la Galerie d'Art Botanique Shirley Sherwood en 2008–10 et leur préservation à l'avenir. Les méthodes développées pour l'humidification, la remise en forme et le montage des peintures sur vélin des collections de Kew sont décrites. Cet article rapporte également des entretiens avec des artistes contemporains majeurs travaillant sur vélin. Des facettes de leurs matériaux et de leurs méthodes de travail ayant un rapport avec d'éventuelles questions de conservation sont enregistrées ; de futures orientations pour une collaboration entre des artistes botaniques et des restaurateurs sont suggérées.”Die Konservierung/Restaurierung Botanischer Illustrationen auf Velin“Botanische Illustrationen halten die Charakteristika von Pflanzen fest. Somit sind sie sowohl eine wissenschaftliche Dokumentation als auch Gemälde und Zeichnungen, die in vielen Fällen großen künstlerischen Wert besitzen. Dieser Artikel stellt die konservatorischen Maßnahmen, die getroffen wurden um Illustrationen auf Velin auf den Ausstellungsbetrieb und für die Lagerung vorzubereiten anhand von Beispielen aus der Sammlung der Royal Botanic Gardens in Kew dar. Die Geschichte der Sammlungen, die Ausstellung in der Shirley Sherwood Gallery of Botanical Art während 2008 bis 2010 und ihre zukünftige Konservierung und Restaurierung werden beschrieben. Zudem werden die Maßnahmen, die entwickelt wurden um die Gemälde auf Velin zu befeuchten, zu glätten und zu montieren aufgeführt. Der Artikel gibt auch Interviews mit führenden zeitgenössischen Künstlern wieder, die mit Velin arbeiten, wobei Aspekte ihrer Materialwahl und Arbeitsmethode wiedergegeben werden, die zukünftige restauratorische Maßnahmen beeinflussen könnten. Im Zuge dessen werden einige Regelungen für die Zusammenarbeit von botanischen Künstlern und Restauratoren vorgeschlagen."La conservación de las ilustraciones botánicas sobre vitela: pasado, presente y futuro"Las ilustraciones botánicas registran las características físicas de las plantas. Además de proporcionar un registro científico, las pinturas y los dibujos tienen, a menudo, un gran mérito artístico. En este artículo se describe el tratamiento de conservación y preparación de las ilustraciones en vitela para su exposición y para el almacenamiento a largo plazo y se centra en las colecciones del Real Jardín Botánico de Kew. Se ofrece información sobre la historia de las colecciones, su exhibición en la galería Shirley Sherwood de Arte Botánico durante el 2008-10 y su preservación en el futuro. También se describen los métodos desarrollados para humidificar, aplanar y montar estas pinturas de la colección de Kew. Además este artículo ofrece información sobre las entrevistas con los principales artistas contemporáneos que trabajan sobre pergamino. Se sugieren futuras colaboraciones entre artistas botánicos y conservadores sobre los materiales y métodos de trabajo y su relación con problemas de conservación.
Journal of The Institute of Conservation, 2011
The Marianne North project involved the restoration of the Marianne North Gallery at the Royal Bo... more The Marianne North project involved the restoration of the Marianne North Gallery at the Royal Botanic Gardens, Kew and the conservation of its contents. As part of this project, 830 oil paintings on paper were examined, documented and conserved. Treatments included consolidation of cracking and flaking media, surface cleaning, removal of acidic and deteriorated backing boards, removal or reduction of bloom and blanching, non-aqueous de-acidification, re-mounting and, where appropriate, in-painting.«La conservation de 830 peintures à l'huile sur papier de Marianne North»Le projet Marianne North a impliqué la restauration de la Galerie Marianne North aux Jardins Botaniques Royaux à Kew et la conservation de son contenu. Dans ce projet, 830 peintures à l'huile sur papier ont été examinées, documentées et conservées. Les traitements ont inclus une consolidation des craquelures et des écailles de media, le nettoyage de surface, le retrait des cartons de fond acides et détériorés, le retrait ou la réduction du chancis et du blanchiment, une désacidification non aqueuse, le remontage et des retouches lorsque c'était nécessaire.,,Die Restaurierung-Konservierung von 830 Ölgemälden auf Papier von Marianne North”Das Marianne-North-Projekt diente der Restaurierung der Marianne North Gallery der Royal Botanic Gardens in Kew und der Konservierung ihres Inhalts. Als Teil dieses Projekts wurden 830 Ölgemälde auf Papier untersucht, dokumentiert und konserviert/restauriert. Behandlungsmethoden beinhalten unter anderem die Festigung der rissigen und splitternden Farbschicht, Oberflächenreinigung, die Entfernung von sauren und geschwächten Rückenwänden, die Entfernung oder Reduzierung von Ausblühungen, nicht-wässrige Entsäuerung, Neurahmung und, soweit nötig, Retusche.“Conservación de 830 pinturas al óleo sobre papel de Marianne North”El proyecto sobre las obras de Marianne North conllevó la restauración de la Galería de Marianne North en el Real Jardín Botánico de Kew así como la conservación de todos sus contenidos. Como parte de este proyecto se examinaron, documentaron y conservaron 830 pinturas al óleo sobre papel. Los tratamientos consistieron en la consolidación de grietas y de áreas descamadas, la limpieza de la superficie, la eliminación del ácido y deteriorado material de soporte, la eliminación o reducción de zonas opacas y escaldadas y, posteriormente, una desacidificación no acuosa, nuevas monturas y retoques donde eran necesarios.