Previous research and treatments
July 2015 – Proposed for Focused Exhibition (Gallery S111) by Phillippe Halbert.
The historical background was fully studied.
· March 2007 – Conservation of the silk upholstery, done by Sharon Shore, Caring for Textiles.
Superficial cleaning, stabilization of the show cover, and passive fill for large losses.
· February 1994 – Condition report and treatment proposal by Sharon Shore, Caring for Textiles.
Proposed treatment includes preliminary test and analysis, cleaning, stabilization, and duplication.
· May 1994 – Storage crate for the armchair
· February 1989 - Condition report and treatment proposal by Bruce Hutchison, Textile Conservation Laboratory, NYC.
Proposed treatment includes mending and backing the silk show cover.
Recent Technical Analysis:
· March 2007 – Organic colorant analysis conducted by Cecily Grzywacz
The dye used for the fabric were identified as Genista tinctorial (Dyer’s Broom), Reseda luteola (Weld), an indigoid dye source, a Paubrasilia species (probably Brazilwood), and a Dactylopius species (probably cochineal) (Details please see final reports from Cecily Grzywacz).
· August 2006 – Extensive research was performed by upholsterer and scholar Xavier Bonnet on the chair in conjunction with the exhibition and his nomination as 2007 Visiting Conservator in the department of Sculpture and Decorative Arts Conservation.
The research was focusing on the upholstery, including materials, techniques, and history. Comprehensive X-Radiographs were taken. XRF analysis were conducted on the tacks to identify the metal content. Gold (Au) was detected, but mercury (Hg) was not detected in the heads of the 3 tacks examined on the chair.
· September 7, 2006 – Feather identification
The feather samples from the upholstery were identified as down of goose and swan by Dr. Carla Dove, Smithsonian Institution National Museum of Natural History
· February 1993 – Finish and paint investigation by Nancie Ravenel, from Documentation of the Early Finish History on two Foliot Armchairs
Sample JX1 (taken from corner block on proper left front leg) was for cross-section analysis and unembedded sample J for GC-MS and IR analysis. Sample JD 3 (taken from inside the central carved block, under the corner) was analyzed with XRF.
The cross-section analysis revealed four layers, from the bottom to the top, they are: a thin oil- based white preparation layer, a thick oil-based paint layer, a very thin carbohydrate wash, and a resin varnish. Details see the table below, from Nancie’s report.
Layer Appearance and Results
1 Surface grime, TTC(+), Rhodamine B(+)
2 Yellow resin, white fluorescence under UV light
3 Thin colorless layer, TTC(+), Rhodamine B(-)
4 White opaque paint layer with spiky black pigment and blue pigment inclusions, TTC(+), Rhodamine B(+)
5 White preparation layer, TTC(+), Rhodamine B(+), reactions not as intense as in layer 4
6 Wood substrate
IR analysis of the Sample J indicates that the resin is a natural resin and the paint contains a protein.
Previous GC/MS analysis on the medium identified the resin component as rosin and the protein as animal glue. No detectable levels of wax or oil components were found. Additional analysis was aimed at looking for mastic, sandarac or copal. Rosin (colophony) was the major component, small amounts of mastic were found.
XRF analysis of the white paint showed presence of calcium and lead (Details please see reports from scientific department).
· January 1990 – X-radiography examination
X-radiographs of the tacking margins showed no previous nail holes. From Richard Stone notes.