Anoxic Frames at Tate Jacob Thomas 1,2,*, Stephen Hackney 1, Joyce Townsend 1 1 Tate, London, UK 2...

Anoxic Frames at TateJacob Thomas1,2,*, Stephen Hackney1, Joyce Townsend1

1 Tate, London, UK

2 University College London, London, UK

* Corresponding author, [email protected]

Showcases Inside Out, Porto 24-26 May 2009

A heat sealed barrier film bag with oxygen absorber

anoxic solutions

Depending on an institution’s budget, several different anoxic solutions are available for display of individual high-value objects and for bulk storage of lower value objects. These vary in price from a few euros to several million dollars.

The anoxic case for the Waldseemüller mapImage credit: NISThttp://www.nist.gov/public_affairs/techbeat/tb2007_1212.htm#w-map

The anoxic case design for the refitting of the American Charters of FreedomImage credit: NISThttp://www.nist.gov/public_affairs/Charter/encasements.htm#design

The original anoxic case design for the American Charters of FreedomImage credit: NISTNBS, 1951, Preservation of the Declaration of Independence and the Constitution of the United States, National Bureau of Standards.


a brief history of anoxia at Tate

• early research▫ identify objects in Tate’s collection that might benefit

from anoxia▫ develop several proof-of-concept frames ▫ conduct comparative studies of light sensitive materials

• current research▫ design, build, and use an improved micro-fadeometer for

measuring colour change under various atmospheres▫ define classes of objects and combinatorially prepare

historically informed samples▫ implement high throughput headspace analysis to

monitor paper degradation markers▫ improve upon existing frame designs to deliver a low-

cost, mass-produceable anoxic frame• next steps

▫ continue research into other classes of objects▫ begin framing paper-based objects in anoxia


why anoxia?

• limit colour change of specific colorants• limit oxidative degradation of enclosed

materials• allow for object specific micro-climates by RH

control and band-stop light filtering• exclude exogenous pollutants and dust• prevent water damage• limit impact damage• suppress RH fluctuations due to room based

climate control failure• permit longer display periods or display in

higher light levels

24-26 May 2009

Showcases Inside Out, Porto

24-26 May 2009


a comparative study

with oxygen without oxygen


unaged

design pressures• aesthetics

▫ no visible valves, lines, or bellows▫ low-profile▫ Tate standard frame

• cost efficient▫ suitable for objects with a range of values

• stable and maintenance-free▫ durable and conservation grade construction▫ 10 years lifetime between open case inspections

• easy to use▫ no special skills required▫ fitting and unfitting should be rapid and non-damaging

• no additional staff or resources needed▫ mounting/fitting▫ hanging▫ storage


• pressed and welded aluminium body

• directional valve• butyl rubber seal• fluorescence-based oxygen

sensors

evolution of frame designearly frame design present frame design

• bent perspex or aluminium body• septa for gas filling• two Beva or butyl seals per unit• colorimetric oxygen sensors


historical and experimental evidence

24-26 May 2009Showcases Inside Out, Porto

reduced colour change under anoxiano difference between anoxia and 21% oxygen

increased colour change in anoxia

Alizarin crimson,a Orpimenta Chrome deep,a Realgara Prussian blue,a Antwerp bluea

Madder/potash, b Yellow lake,b Powdered kermes,b Madder lake,b Carmine,b Eosine,b Dragon's blood,b Cochineal,b Lac/alum,b Bitumen,b Brazilwood,b Gummigut,b Lac/lake,b Quercitron lake,b Gamboge,b Saffron,b Brazilwood/potash,b Alizarin Crimson,b Lac/potash,b Indian lake,b Magenta,b Purple madder,b Brazilwwod/lake,b Realgar powder,b Lac/no mordant,b Naples yellow,b Lithol red,b Muave,b Sepia,b Orpiment,b Madder/no mordant,b Madder/alum,b Brazilwood/alum,b Brazilwood/no mordantb

Prussian blue,b Rhodamine,b Cinnebar,b Indian yellow,b Emerald green,b Indigob

Red lead,b Verdigris,b Rose madderb

Several different indigo preparationsj

Blue wool L2,c Xenon reference fabric,e Fustic,c TumericcBlue wool L6,c Indigo,c Fluorescent yellowd Fluorescent pinkd

Malachite,b,k Azurite,b,k Vermilion,b,k Iron oxide red,b,k Yellow ocher,b,k Hematite,b,k White lead,b,k Indigob,k

Red lead,b,k* Massicot,b,k*

Magenta (rasaniline, fuchsine),a Archil (orchil),a Brazil wood,a Saffron,a Yellow Persian berry lake (sap yellow, buckthorn yellow, stil de grain vert),a Green Persian berry lake (sap green)a

Malachite,b Cinnebar,b Red lead,b Sienna,b Lithargeb

Carmine,f Green felt pen (acidic triphenylmethane),g Geranium lake,f Alizarin,a Gamboge,d ISO Blue 2,c ISO Blue 1,c Yellow felt pen (acidic triphenyl methane),g Gamboge,a Mauve,a Red felt pen (acidic triphenylmethane),g Carmine,a Purpurine,d Carmine,d Alizarinf

Vermillion azo,f Prussian bluef

C.I. Basic Blue 3 (oxazine),h C.I. Basic Orange 22 (methin),h C.I. basic Blue 18 (triphenylmethane),h C.I. Basic Blue 12 (oxazine),h Astra Violet FN Extra (methin),h C.I. Basic Blue 26 (triphenylmethane)h

Diazacyanine blue,h* Diazacyanine yellowh*

Carmine,a Crimson lake,a Scarlet lake,a Rose madder,a Madder lake,a Brown madder,a Gamboge,a Aurleolin,a Cadmium yellow,a Yellow Ochre,a Naples yellow,a Indian yellow,a Emerald green,a Olive green,a Indigo blue,a Leitches blue (cyanin),a Permanent blue,a Paynes grey,a Vandyke brown,a Burnt umber,a Brown pink,a

Vermillion,a Indian red,a Venetian Red,a Burnt sienna,a Chrome yellow,a Lemon yellow,a Raw sienna,a Terra verte,a Chrome oxide,a Cobalt blue,a French blue,a Ultrmarine ash,a Violet carmine,a purple carmine,a purple madder,a sepiaa

Prussian blue,a* Aureolin,a* Cadmium yellow,a* Naples yellow,a* Indian yellow,a* Emerald green,a* Olive green,a* Antwerp blue,a* Leichtes blue (cyanin),a* Brown pink,a*

Tumeric,i Annattoi Prussian bluei

a) pigment in gum Arabic b) pigment without binding

mediac) dye on woold) dye on cellulosee) dye on polyesterf) oil paint with flake white

extender

g) pen on paperh) dye on cotton, viscose rayon, cellulose acetate, silk, wool, and

orloni) dye on cotton, silk and wool j) dye on cottonk) pigment in glue* indicates that colour change is increased in anoxia in the presence

of moisture

historically informed reproductions and high throughput screening

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real objects and real problems•access•quality control•storage•handling and hanging•transport •endogenous pollutants•increased fading of some colorants


24-26 May 2009


Anoxic Frames at Tate Jacob Thomas 1,2,*, Stephen Hackney 1, Joyce Townsend 1 1 Tate, London, UK 2...

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