Notice catalographique « Technical investigation of materials used in a mid-nineteenth-century Berlin work needlepainting reproduction of Horace Vernet's Raphael at the Vatican »
- Titre
- Technical investigation of materials used in a mid-nineteenth-century Berlin work needlepainting reproduction of Horace Vernet's Raphael at the Vatican
- Auteur ou éditeur
- LeBel, Marianne
- Queen's University (Kingston, ON)
- Lieu de publication
- Kingston, ON
- Maison d'édition
- Queen's University
- Date de publication
- 2020
- Collation
- vii, 73 pages : illustrations (chiefly colour), charts, tables
- Série
- Queen's Master in Art Conservation
- Résumé
- Berlin work is a type of embroidery in which yarn is stitched onto an open-weave canvas, usually by following a grid pattern. It was the most popular form of needlework in the nineteenth century, being a very accessible craft due to its simple technique and to the wide availability of patterns. Among the frequent subjects embroidered by the practitioners of Berlin work is the reproduction of famous paintings. An example of these ‘needlepaintings’ is a large Berlin work, dated 1850, which reproduces Horace Vernet’s 1832 painting Raphael at the Vatican. Berlin work materials, like coloured yarn, were sold in specialized stores, ready to use by clients. Although wool was the most common fibre to be used for such embroideries, Berlin work repositories also sold other types of yarns which could be used for Berlin work. Before 1856, the yarn was usually coloured with natural dyes, which are known not to be lightfast and cause damage to the fibres during the dyeing process. The Berlin work of Raphael at the Vatican shows preferential degradation of certain grey yarns and discolouration of the middle portion of the object. The object was also exposed to moisture and possibly to pests. A technical investigation of the embroidery’s materials and degradation shed light on the causes of deterioration and informed the textile’s recommended treatment (procedures and materials for cleaning and repairs) as well as measures to be taken for its preventive conservation. Fibres were identified and their morphologies were assessed by polarizing light microscopy and scanning electron microscopy (SEM). The state of more degraded embroidered areas was compared to that of more intact areas by SEM and colorimetry. X-ray fluorescence (XRF) was used to give information on mordanting, and gas chromatography-mass spectrometry may be used at a later date to determine whether a purple dye is synthetic or natural in order to confirm the dating of the textile. It was found that the textile was created by embroidering wool yarn on cotton canvas. Quantifying the fading allowed to make informed guesses regarding the identity of certain dyes. The dark discolouration likely occurred because of chemical deterioration, and the selectively deteriorated wool was damaged because of corrosive iron mordants. Observations were made regarding the object’s materials and construction which might contribute to the emerging body of literature on Berlin work embroidery.
- Notes
- Thesis (M.A.) -- Queen's University, 2020
- Langue
- English = Anglais
- Sujet
- Canvas embroidery, Victorian - Conservation and restoration
- Embroidery - 19th century - Analysis
- Artists' materials - Analysis
- Broderie sur canevas victorien - Conservation et restauration
- Broderie - 19e siècle - Analyse
- Matérial d'artistes - Analyse
- Pays
- Canada
- Type de document
- Monograph = Monographie
- Localisation
- NK 9204.5 L43 2020
- Clé
- 19913
- Collection
- Catalogue