Graphic art restoration

Restoration and Mounting of a 13th-century Leaf from the Breviarium chorale ad usum Ecclesiae Agenensis, Known as the Choral Breviary of Agen Cathedral

Leaf from the Choral Breviary of Agen Cathedral

Identification

Cote : Ms 73
Date : 13th – 14th century (between 1297 and 1313)
Dimensions: 49,8 x 37,2 cm
Provenance : Agen
Support: Parchment
Technique : Manuscript leaf with text on both sides in two columns, historiated initial

Detail

The leaf, known as the Choral Breviary of Agen Cathedral, originates from the Saint-Étienne Cathedral in Agen. Upon acquisition, it was kept in a mat, held only by two adhesive strips.

To improve its conservation and presentation, a new mount using polyester straps was designed. The leaf is now housed in a mat with two beveled windows, allowing access to both the recto and verso of the precious leaf. This mount, using polyester straps, provides flexibility to the parchment document while keeping it flat.

Restoration and Hinge Mounting of a Watercolor by Robert Desnos

Watercolor by Robert Desnos

Identification

Title: [untitled]
Artist: Robert Desnos
Date: 1931
Dimensions: 39.5 x 27 cm
Medium: Mechanically processed vellum paper
Technique: Graphite pencil, watercolor, and oil highlights
Annotation: “À Youki”

Detail

Robert Desnos painted this watercolor in 1931 and dedicated it to his partner, Youki.

Originally drum-mounted, meaning held only by its edges in an acidic mat, the artwork exhibited significant deformations.

It was removed, reinforced on the verso, and then remounted using Japanese paper hinges folded inside a conservation mat board. The framing with natural oak moldings and anti-reflective, UV-protective glass was done byAtelier Julien Fourrey..

Restoration of a Chinese Fan in Ivory and Paper

Chinese fan

Identification

Artist: Kai Zi Shang (?)
Date: Qing Dynasty (?)
Dimensions: Total height: 28 cm / Span: 55 cm / Guard: 16.2 cm
Origin: China (?)
Medium: Ivory, bone, and Asian paper
Technique: Mixed technique: painting, textile, and applied ivory or bone

Detail

The Princerie Museum preserves an elegant Chinese fan from the Qing Dynasty. Its sticks are finely carved ivory. Both sides depict traditional scenes with numerous figures, whose clothes are made of silk pieces and faces of finely painted bone.

This fan, appearing to be an imported item made for European tastes in the 19th century, might have been produced in Canton mid-century and could correspond to the type known as “Mandarin or Hundred Faces Fan,” due to the presence of numerous figures.

Analyses revealed extensive use of lapis lazuli for the blue elements. This expensive pigment highlights the object’s preciousness.

The leaves, particularly worn at the folds, were reinforced on the verso with Japanese paper strips. The very powdery blue paint layer was fixed and consolidated with 1% gelatin applied by nebulization. The conservation of the sticks was entrusted to Azzurra Palazzo, a sculpture restorer and ivory specialist.

For better presentation and preservation, the entire item was housed in a custom-made box.

Restoration of two stained glass cartons by the glass painters Brière: Christ in the Sacred Heart and Virgin.

Christ in Sacred Heart and Virgin

Identification

Inventory Numbers: 76J2623/2 / 76J2623/1
Title: Christ in Sacred Heart / Virgin
Dimensions: 200 x 210 cm
Provenance: Brière Workshop
Medium: Mechanically processed vellum paper
Technique: Walnut stain, graphite pencil, and blue chalk

Detail

The Brière stained glass workshop was established in Levallois-Perret in 1896. For over a century, it produced both secular and religious stained glass, including those for the Saint-Gilles Saint-Leu church in Bourg-la-Reine.

When the workshop was forced to close in 2005, it entrusted its archives and an exceptional collection of stained glass drawings to the Hauts-de-Seine department, preserving the memory of a century-old artisanal business. Two very large preparatory cartoons (2m x 2m) depicting the Christ in Sacred Heart and the Virgin required restoration to ensure their proper conservation.

A thorough dusting and erasing were carried out. Stains were partially reduced through blotter aqueous drainage. Tears were reinforced on the verso, and the entire piece was lined with Japanese paper (kozo fibers) and wheat starch paste. The gaps were filled with Japanese paper previously toned to restore visual uniformity to the cartoons.

Restoration of jewelry drawings

Shaped necklaces

Identification

Title: Drawings of Decorative necklaces
Dimensions of the Sheets: 36 x 40 cm
Medium: Colored papers
Technique: Gouache, graphite pencil, lead white highlights

Detail

This series of drawings from the first half of the 20th century exhibited several degradations, including significant oxidation of the lead white highlights.

The highlights were treated by nebulization and application of hydrogen peroxide in cellulose ether gel with a brush.

Frequently displayed, the drawings were then mounted on individual boards using corners.