The “cold storage” project – initially suggested by Hilke Arijs – emerged again and made it possible to evaluate the measures and actions previously taken during the “SOS Negatives” campaign and in everyday collection management. 77An awareness today of the significance of the KIK-IRPA’s interior and its acknowledged value as a historic ensemble has led to a change in perspectives. Since 2007, the building and a part of the interior have a protected status. The KIK-IRPA’s interior is divided into several sub-collections such as, for instance, a collection of chairs, a collection considered as a total design for one specific room, or a collection of artworks still displayed as foreseen in the building. To maintain and to conserve this whole collection that is still in use, it was essential to set up a collection plan.
With an MA in Art History and Archaeology (VUB), Marjolijn Debulpaep then trained in conservation-restoration of paintings and in preventive conservation. https://www.uzahighstreet.com/business-services/ongediertebestrijding-amersfoort joined KIK-IRPA in 2001 and created the preventive conservation unit in 2007, which she still heads today. After graduating in the conservation-restoration of graphic art works (ENSAV La Cambre), Estelle De Bruyn specialized in preventive conservation through internships at the Canadian Conservation Institute and ICCROM. She joined the KIK-IRPA preventive conservation unit in 2017, where she works as a scientific collaborator. With an MA in Art History (ULB) and the conservation-restoration of graphic art works (ENSAV La Cambre), Laura Debry joined the KIK-IRPA preventive conservation unit in 2015, while working in parallel as an artworks restorer. Since 2016, she has taught the preventive conservation course at ENSAV La Cambre.
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She is currently working as a scientific collaborator in KIK-IRPA’s preventive conservation unit. This confirms the measurements of the diffusion tubes that an internal source of organic gases is effectively present. This particular display case is therefore not suitable for displaying art objects that are sensitive to organic gases.
72At a single glance, one can see that, following storage reorganization, storage conditions have improved after a RE - ORG campaign, and the same can be concluded by the self-evaluation form. But also in the use of the collection and the storage itself, the effects of RE - ORG can be felt in practice. https://www.tumblr.com/ongediertebestrijdingamersfoort is not uncommon for objects thought to have been lost to reappear, as by reorganizing the risk of dissociation is also diminished. 4The degradation of nitrate film proceeds in various stages.8 (1) The film discolours towards an amber colour and fades. (3) Sticky and slimy blisters are formed between the support and the emulsion.
The front sides of the textile fragments (silk and linen) were highly faded and extremely fragile after centuries of exposure to light. The reverse sides displayed bright colours that reflected the original chromatic splendour of the Enclosed Gardens [fig. 7].23 In order to arrive at proper preventive conservation recommendations, future fading was simulated for different light exposure scenarios. Such simulations required information on the type of colorant and the past exposure. 22Dehumidification with strict climate control was done in collaboration with the external firm BEPA (via public tender). Given the long-term exposure of the interior elements to a humid climate (around 72% RH), the dehumidification had to be set up with caution.