LEATHER CONSERVATION FOR TODAY ICOM-
ABSTRACTS FOR THE THIRTEENTH INTERIM MEETING OF THE LEATHER & RELATED MATERIALS WORKING GROUP 30 AND 31 OCTOBER 2025 DE MONTFORT UNIVERSITY, LEICESTER, UK
ICOM- CC
Abstracts for the 13th ICOM-CC Leather and Related Materials Interim Meeting, 2025. Produced in partnership with ICOM-CC, DMU Museum, and Leicester City Council.
Copyright © 2025 by the authors of the abstract papers.
All rights reserved. No parts of this publication may be reproduced without the permission of the respective authors.
The imagery for this publication was provided by Paul Read Photography and was designed by the DMU Museum. Printed and bound by DMU Print Services.
Anna Robinson and Geoffrey Major
SKINS OF INSTRUMENTS: CONSERVATION OF OBJECTS FROM THE MUSIC NATIONAL MUSEUM OF PORTUGAL
Lina Falcão, Margarida Cavaco, Diogo Sanches, Ana Machado and Luís Piorro
THE USE OF CUTTING MACHINE AND SULFUR-FREE CONSERVATION LEATHER FOR THE RESTORATION OF LACUNAE ON GILT LEATHER
Céline Bonnot-Diconne, Pablo Londero, Jérôme Farigoule, Elsa Bourguignon and Georgina Garrett
REMOVAL OF NITROCELLULOSE METALLIC COATING FROM GILT LEATHER: DEVELOPMENT OF A SEMI-SELECTIVE PICKERING EMULSION METHOD
Océane da Silva Henriques
Eloy Koldeweij
Taylor
‘GILT LEATHER, MADE IN THE OLD WAY’. THE WORK OF JAN MENSING, A TALENTED DUTCH 20TH CENTURY ARTISAN
Eloy Koldeweij and Daniëlle Stobbe
MULTI-TECHNIQUE ANALYSIS OF THE GREEN PIGMENT-COATED LEATHER FROM ROYAL PEKING OPERA BOOTS OF THE QING DYNASTY IN THE PALACE MUSEUM
Li Zhao
ON THE PRESERVATION AND INNOVATION OF CHINESE LEATHER CRAFTSMANSHIP: AN OBSERVATIONAL STUDY ON SUSTAINABLE DEVELOPMENT
Miao Wang, Robert Chen, Carolyn Hardaker and Ruth Jindal
24
26
28
EVALUATING THE EFFECTIVENESS OF ALUM-TAWED PARCHMENT AS A REPAIR MATERIAL FOR BINDINGVS AND MANUSCRIPTS
Gwen dePolo, Kathryn Kenney, Jesse Meyer, Kelli Stoneburner, Eric Monroe, Renate
Mesmer and Fenella France
ANCIENT CRAFT MEETS CONSERVATION SCIENCE: DEVELOPING AN IMPROVED FISH PARCHMENT MAKING PROCESS FOR A NEW CONSERVATION REPAIR MATERIAL
Aurelia Sedlmair
FILLING THE GAP: NEW MATERIALS FOR LEATHER REPAIRS
Daniëlle Stobbe
30 THE GREENBOOK PROJECT: ECO-FRIENDLY BIOLEATHER FOR BOOK CONSERVATION
Elodie Lévêque, Theanne Schiros, Romare Antrobus, Elias Dolton-Thornton, Simon Raffin, Anne-Laurence Dupont, Laurianne Robinet and Sabrina Paris
34
INTRODUCTION TO ANALYSIS OF DETERIORATED VEGETABLE TANNED LEATHER BASED ON CHANGES IN THE MORPHOLOGY OF FIBRES IN WET CONDITION
René Larsen, Dorte V.P. Sommer and Kathleen Mühlen Axelsson
36 CONTROLLED ENVIRONMENT NEUTRON RADIOGRAPHY OF VEGETABLE TANNED LEATHER TREATED WITH NANO-BASED PREPARATIONS
M. Odlyha, E. Badea, C. Pearce, G. Burc, C. Carsote, N. Proietti, V. Di Tullio and L. Bozec
38 STUDY ON COLLAGEN/EPICATECHIN COMPOSITES FOR REINFORCING AND PROTECTING LEATHER HERITAGE
Qijue Chen, Fang Wang, Jie Liua, Yong Lei, Jie Liu and Keyong Tang
40 A COMPARATIVE STUDY OF FILLERS FOR THE CONSERVATION TREATMENT OF CHROME-TANNED LEATHER
Minseo Kim
POSTERS AND VIDEOS
JIGSAW TEACHING: UNDERSTANDING BOOK CONSERVATION THROUGH CLEAR VIDEO TUTORIALS
Andrea Pataki-Hundt, Maike Linden and Marlen Börngen
University of Applied Sciences Cologne, Cologne Institute of Conservation Sciences (CICS), Köln, Germany
ADHESIVES USED ON VEGETABLE TANNED LEATHER: A SURVEY REVIEW
Arianne Panton
The Leather Conservation Centre, UK
THE FAST AND THE FURRIERS: A RAPID, INEXPENSIVE METHOD FOR IDENTIFYING SOURCE ANIMAL
Lu Allington-Jones
The Natural History Museum, London, UK
IRON AGE FUR SKIN TANNING – A SUSTAINABLE PRACTICE?
René Larsen1, Anne Lisbeth Schmidt2, Martin N. Mortensen3, Yvonne Shashoua3, Dorte
Vestergaard Poulsen Sommer1 and Jane Richter4,
1. Fonden Bevaring Sjælland, Videncenter for Bevaring af Kulturarven, Denmark
2. National Museum of Denmark, Conservation and Restoration, Denmark
3. National Museum of Denmark, Environmental Archaeology and Materials Science, Denmark
4. Royal Danish Academy, Conservation, Denmark
HACC/GA-BASED MICROENCAPSULATION OF OREGANO ESSENTIAL OIL VIA COMPLEX COACERVATION: A SUSTAINABLE STRATEGY FOR ANTIMICROBIAL PROTECTION OF LEATHER ARTIFACTS
Haojian Shao1, Mingrui Zhang1,2, Jie Liu1,2 and Keyong Tang1,2
1. School of Materials Science and Engineering, Zhengzhou University, China
2. Archeology Innovation Center, Zhengzhou University, China
THE CONSOLIDATION OF POWDERY LEATHER SURFACES: EVALUATION OF THE PENETRATION CAPABILITY OF KLUCEL® BY FLUORESCENCE COLOURING
Barbara Nydegger
Atelier Verso, Switzerland
LONG-TERM ANTIOXIDANT AND UV-BLOCKING GELATINE FILMS FOR THE PRESERVATION OF LEATHER ARTIFACTS
Suchi Liu1, Mingrui Zhang1, Jie Liu1,2, Yong Lei3, Mǎdǎlina Georgiana Albu Kaya4 and Keyong Tang2
1. School of Materials Science and Engineering, Zhengzhou University, China
2. Archeology Innovation Center, Zhengzhou University, China
3. Department of Conservation Science, Palace Museum, Beijing, China
4. Collagen Department, INCDTP-Leather and Footwear Research Institute, Bucharest, Romania
NON-DESTRUCTIVE ANALYSIS OF VEGETABLE LEATHER TANNINS: VIABLE OR FALLIBLE?
Miriam-Helene Rudd1, Lara Kaplan2,3 and Dr. Rosie Grayburn2,3
1. The Metropolitan Museum of Art, NYC, USA
2. Winterthur Museum, Delaware, USA
3. University of Delaware, Delaware, USA
MULTI-DIMENSIONAL ANALYSIS AND INNOVATIVE PROTECTION: IDENTIFICATION, DETERIORATION ASSESSMENT, AND PROTECTION STRATEGIES FOR LEATHER ARTIFACTS
Mingrui Zhang1,2, Suchi Liu1,2, Jie Liu1,2, Yong Lei3, Mǎdǎlina Georgiana Albu Kaya4 and Keyong Tang1,2
1. School of Materials Science and Engineering, Zhengzhou University, China
2. Archeology Innovation Center, Zhengzhou University, China
3. Department of Conservation Science, Palace Museum, Beijing, China
4. Collagen Department, INCDTP-Leather and Footwear Research Institute, Bucharest, Romania
OH BABY!: THE TREATMENT OF AN EARLY 20TH CENTURY AIRSHIP SKIN
Anna Robinson and Geoffrey Major
In 2022, a closely folded packet, a little bigger than a well stuffed A5 envelope, arrived at Zenzie Tinker Conservation from the National Aerospace Library which had recently been found in their archive. It was accompanied by a handwritten note indicating that it was the name-skin from ‘Baby’, a British Army airship prototype constructed in 1909.
‘Baby’ was a small-scale dirigible with an outer envelope or skin constructed of layers of goldbeater’s skin filled with hydrogen gas and fitted with a propeller, motor and small gondola. It was the third airship constructed by the British Army, and first one to operate successfully, making it an exciting find.
Made of painted goldbeater’s skin with an unknown coating on the back, the name-skin was folded many times over with the painted side inwards, completely obscuring any inscription on the front. The name-skin was very set in its folds, and due to its stiff and brittle condition, it was impossible to open to confirm if it belonged to ‘Baby’.
Localized testing indicated that the skin responded very well to humidification, opening up the possibility of unfolding it. To do this, a custom humidity chamber was built to accommodate the estimated final size of the unfolded skin, while still allowing easy access for manipulation. An adjustable mount was created to
support the skin in various positions as it was slowly unfolded in the humidity chamber.
The successful opening of the skin revealed that it was indeed the name-skin for ‘Baby’; and further humidification was undertaken to reduce crease lines and cockling and prepare tears and areas of loss for support.
As the name-skin remains very sensitive to humidity and moisture, careful consideration of the support materials was required to prevent the occurrence of any new tears over time. After a series of tests on surrogate material, goldbeater’s skin with gelatin adhesive was chosen for supporting the small tears and losses in the name-skin. These materials were selected based on their sympathetic hygroscopic properties, which will allow the supports to react to changes in relative humidity similarly to the name-skin.
The National Aerospace Library requested the conserved name-skin be prepared for permanent display. As with the conservation support, how to safely secure the name-skin to its rigid mount had to be carefully considered as well as how this would then be fixed to the display back board of the glazed frame. Stainless steel panel fittings more commonly used in carbon fibre race cars were utlilised to allow hidden
attachment of the mounted name-skin to the back board. The name-skin was carefully attached around the edges via Japanese tissue tabs using dilute Beva® D8 dispersion, chosen for its strength, reversibility, and instant adhesion. This system allowed the name-skin to appear to float against its fabric covered backboard and be safely framed behind Optium® acrylic.
Anna Robinson University of Lincoln, UK annarobinson366@gmail.com 07716488585
Geoffrey Major
Zenzie Tinker Conservation, UK geoffrey.major@zenzietinker.co.uk 07890207086
ON SKINS OF INSTRUMENTS: CONSERVATION OF OBJECTS FROM THE MUSIC NATIONAL MUSEUM OF PORTUGAL
Lina Falcão, Margarida Cavaco, Diogo Sanches, Ana Machado and Luís Piorro
José de Figueiredo Laboratory (LJF)
– a benchmark institution established in 1965 -, is part of Museums and Monuments of Portugal (MMP), a company created in 2023 which the main task is the implementation of the policy of safeguard, research and conservation of movable and integrated cultural assets, owned by the Portuguese State. LJF-MMP has in its mission and statutes the responsibility of the conservation of highly complex heritage material objects, particularly those classified as national treasures.
Since 1994 LJF-MMP collaborates with the Music National Museum (MNM) when it opened in Lisbon. In 2023 this museum closed to the public due to the process of moving to new premises located at the National Palace of Mafra.
The MNM has one of the richest European collections of musical instruments from the 16th to the 21st centuries, of erudite and popular tradition, including national treasures. The new site, scheduled to open during the second semester of 2025, will increase the number of items on display and host a collection of more than a thousand musical instruments, along with several scores, phonograms, iconography and assorted documents.
In this context LJF-MMP was
responsible for the conservation treatment of different several European musical instruments, dated from 17th to 19th century, among which nine national treasures and other composite objects, mainly made from organic materials such as wood, ivory and animal skin.
Considering skin and leather objects it was particularly relevant the conservation of a rare violin holster case covered with Russia leather; a lizard cornet covered with gold tooled bookbinding leather; a leather bag of a Gaillard musette; a piano stool upholstered with Morocco leather and skins membranes of different membranophones.
These five categories of objects are representative of the diversity and richness of skin-based materials in material heritage: from parchment-like skin applied as vibrating membranes for sound production to resistant and protecting coverings of wooden objects as well as luxurious and comfortable upholstery covers made from vegetable tanned leather with different organoleptic characteristics.
Succinctly in our communication we aim to highlight the conservation treatment of different vegetable tanned leathers, such as the Russia and Morocco leathers, where different cleaning
and tear mending techniques and approaches were required; as well as the deformation treatment of the bagpipe musette which implied the construction of a small and tailored made water vapour mini chamber for localized proper humidification.
Regarding the skins of membranophones, we will present different nonchemical cleaning approaches with sponges and high-tech microfilament fabrics (dust bunny and Evolon®) and tears/splits stabilization.
An innovative application of IR reflectography to the study of the surface of gold tooled bookbinding leather that covers a tenor cornett (lizard), complemented with XRF gold leaf study, will be also presented.
Lina Falcão
Margarida Cavaco
Diogo Sanches
Ana Machado
Luís Piorro
José de Figueiredo Laboratory (LJF) of Museums and Monuments of Portugal (MMP)
Rua das Janelas Verdes, 1249-018 Lisboa, Portugal
lina.falcao@museusemonumentos.pt
THE USE OF CUTTING MACHINE AND SULFUR-FREE CONSERVATION LEATHER FOR THE RESTORATION OF LACUNAE ON GILT LEATHER
Céline Bonnot-Diconne, Pablo Londero, Jérôme Farigoule, - Elsa Bourguignon and Georgina Garrett
Whether we are dealing with large gilt leather decorations or other objects (furniture, boxes, etc.), the presence of gaps is an inescapable reality. These gaps, which vary in shape but are often complex, are visually intrusive and generally need to be filled to restore the coherence of the decorations and improve the mechanical resistance of the material.
However, the size and number of these gaps can be an obstacle to the production of leather inlays, the manual execution of which often involves a great deal of work. The challenge was to find a practical and effective solution to fill these gaps perfectly.
We have recently been experimenting with the use of a cutting machine that is very affordable and offers features that enable leather to be cut extremely precisely and quickly. The aim of this paper is to present the step-by-step implementation of this technique and to show its advantages and disadvantages.
As part of a project to restore a large polychrome gilt leather tapestry conserved at the Louvre museum in Abu Dhabi (UAE), the use of vegetable-tanned leather, qualified as sulphur-free, will also be discussed in order to measure the impact of this type of conservation
material on gilt leather decorations, when it is used as inlays.
Commercial sulphur-free leathers have been analysed by XRF, front and back, to assess average relative sulfur concentrations as well as any differences between the two surfaces. The variability of sulfur concentrations over the surface was also characterized. A soda-lime glass standard was used to provide a rough estimate of the detection limits under the measurement conditions.
The aim of this communication is to help conservators in their choice and daily practice.
Céline Bonnot-Diconne 2CRC, France cbonnotdiconne@aol.com +33-476-661-445/+33-688-947-147
Pablo Londero
Jérôme Farigoule
Elsa Bourguignon
Georgina Garrett
Louvre Abu Dhabi Museum, UAE plondero@louvreabudhabi.ae +971-56-979-4684
REMOVAL OF NITROCELLULOSE METALLIC COATING FROM GILT LEATHER: DEVELOPMENT OF A SEMI-SELECTIVE PICKERING EMULSION METHOD
Océane da Silva Henriques
The Use of Gilded Mediums (Bronzine) for the Restoration of Gilded Leathers: Consequences and Cleaning Methods –A Case Study of a French Gilded Leather from the Rhône Valley (17th Century) Preserved at the Historical Museum of Lausanne.
This study focuses on a gilded leather panel dating from the second half of the 17th century, identified through stylistic analysis (with the assistance of art historian Jean-Pierre Fournet) as originating from a French workshop in the Rhône Valley. The object, consisting of four decorative tiles with gilded and repoussé motifs on a red lacquered background, was donated by M. Boucher de Perthes, a key figure in early prehistoric archaeology, to the now-defunct Industrial Museum of Lausanne. The museum aimed to showcase human craftsmanship, from raw materials to artisanal production. The object’s history after its acquisition is partially documented and reveals that it underwent an extensive restoration in 1953, which significantly altered its original state.
The 1953 intervention involved reworking the edges, filling lacunae, reinforcing the back, re-stitching the seams, and applying significant retouching with red and gold pigments. Most notably, the original gold varnish, applied over silver
leaf, was completely covered with a copper-based metallic pigment medium (“bronzine”). Following the restoration, copper soaps (green corrosion products) developed on the surface, particularly in areas where no traditional materials were acting as a protective interface, such as on leather infill sections.
UV imaging suggests that two different bronzine layers were applied, likely with distinct binding media, creating a heterogeneous appearance across the panel. The museum now seeks to stabilise the object for display, necessitating a mounting system and conservation treatment. This raises a crucial question: Is the bronzine application detrimental to the long-term stability of the object? Additionally, many areas exhibit stratigraphic delamination, requiring consolidation. However, this poses an ethical dilemma, as stabilising these layers would also reinforce potentially unstable restoration materials, further complicating the conservation approach.
Copper particles within bronzine are known to react with fatty acids, leading to visible alteration and staining. Additionally, a preliminary FTIR-ATR analysis indicates that one of the bronzine layers contains nitrocellulose, a material known for its instability, potential copper corrosion effects, and
fire risk. Given the presence of these materials, it is essential to assess:
1. Whether the bronzine layers pose a long-term threat to the object’s conservation.
2. Whether a cleaning method can be developed to safely remove this later addition, which is unrelated to traditional manufacturing techniques and negatively impacts the object’s visual perception.
To date, no published research has specifically addressed this issue, making this an original and significant case study. The complexity of gilded leather stratigraphy and its highly heterogeneous composition necessitate an approach that considers the vulnerabilities of each material layer. The choice and application of a cleaning method will therefore be crucial in this study.
Ongoing FTIR-ATR analyses aim to
characterise the organic materials in the bronzine layers to guide future conservation decisions. Given time constraints and pending approval from the collection’s curator, the next steps will likely involve testing removal techniques on a small sample area before potentially proceeding with the cleaning of one of the four tiles.
Océane da Silva Henriques Haute École Arc in conservation-restoration, Neuchâtel, Switzerland oceane.dasilvahenriques@he-arc.ch +41-766-930-594
THE INTERNATIONAL REVIVAL OF
Eloy Koldeweij
GILT LEATHER
During the second half of the 19th and the first decades of the 20th centuries gilt leather was a highly fashionable type of wall hanging all over the western world, including the United States and Japan. This revival slowly started in the years 1830-1850, and can clearly be seen in the work of various modern painters who were depicting historical interiors. It fully developed in the 1860´s, and culminated in the 1880´s and 1890’s. Quite remarkably is that Julius Lessing, director of the Kunstgewerbemuseum in Berlin, is writing about the enormous popularity of gilt leather at that very moment in his openings article of the first number of the new and successful art-magazine the Kunstgewerbeblatt in 1885.
This preference for gilt leather fitted perfectly in the so-called neorenaissance style, which was highly fashionable from the 1860´s onwards, and was used for various rooms: for studies, billiard- and smoking rooms, dining- and reception rooms, and also quite a few boardrooms have been decorated in this way. It was even applied in some of the large ocean cruisers as the English steamer the ‘Teutonic’ and the famous Dutch ship the ‘Jan Pietersz Coen’.
To be able to fulfil the large demand of the market several wall hanging
manufacturers started to make copies of the old well known gilt leather. In some cases these copies were very precise: traditional materials were used and much effort was put in to copy in a successful way the old patterns. Mostly however the imitations are quite different from the old gilt leathers: all sorts of methods and materials were used for these copies. These revival gilt leathers were produced in many more countries as the original old gilt leather from the 16th up to the 18th century: From Sweden, Denmark, Germany, Poland, Austria, France, Belgium, The Netherlands, England, Spain, Italy, up to the United States of America and even in Japan. The list of manufacturers is quite extensive.
Mostly these copies are easy recognisable and can be discerned both by the materials used, as by the newly developed patterns. Generally spoken the copies are less detailed and have less embossment, and the colouring is quite different. Above this, the patterns of these copies quite often show contradictory stylistic details. And so do their patterns: often 18th century patterns are being applied in 17th century revival interiors.
Eloy Koldeweij
Cultural Heritage Agency, The Netherlands
e.koldeweij@cultureelerfgoed.nl
+31-612-556-176
REINVENTING GILT LEATHER IN THE NINETEENTH
CENTURY INTERIOR IN BRITAIN
Clare Taylor
This poster will explore some of the issues around gilt leather’s removal, repair and re-use in the nineteenth century through the study of selected sites in Britain. It aims to take a material culture approach to shed light on these processes through the study of both extant gilt leather and documentary evidence, in order to contribute to debates around gilt leather’s preservation as part of the remodelling of the nineteenth-century country house.
First, it will explore how leather was acquired, through the evidence of correspondence between owners and dealers from Antwerp (Walpole for Rainthorpe, Norfolk) to Venice (Bankes for Kingston Lacy, Dorset) in the 1850s. This will give insights into how owners bought leather for their interiors and the importance of detailed knowledge of patterns and joining of skins to a successful hang.
Second, it will explore the varied trades and methods used for fixing up leathers in the nineteenth-century, a period when in Britain there was a lack of skills in this area, from carpenters (Rainthorpe) to debates about employing trades from harness maker to saddler (Kingston Lacy) and the use of paper hangers (specialists in hanging wallpaper). It will also explore the use of wooden ‘framing’ structures to create antiquarian interiors
and disguise shortcomings in supply, also showing how gilt leather could be recoloured in situ by occupants to create colourways reflecting nineteenthcentury taste (Oxburgh, Norfolk).
Finally, the poster will demonstrate how ‘old’ gilt leather was combined with new imitations by Maison Dulud and the Tynecastle Tapestry Company in order to create cohesive schemes which evidence the crucial role of gilt leather in reinventing ideas of ‘Old England’.
Clare Taylor
The Open University, UK clare.taylor@open.ac.uk 07732399792
‘GILT
LEATHER, MADE IN THE OLD WAY’. THE WORK OF JAN MENSING, A TALENTED DUTCH 20TH CENTURY ARTISAN
Eloy Koldeweij and Daniëlle Stobbe
Gilt leather has been made for many centuries and was very popular during the 17th to 18th century in Dutch interiors, with a revival in the second half of the 19th and early 20th century. So far, research mainly focused on the centuries-old gilt leathers, and hardly on its revivals. In this context also the work of the Dutch gilt leather maker Jan C.M. Mensing (1869-1952) has remained underexposed.
As the son of a renowned bookbinder, Mensing specialized himself as a selftaught gilt leather maker and restorer. He produced copies of 17th and 18th century gilt leather patterns as modern designs for national and international clientèle. His high-quality gilt leather was even on display at the prestigious ‘Exposition Internationale des Arts Décoratifs et Industriels Modernes’ in Paris, in 1928. Apart from being a gilt leather maker, he was in his time the leading conservator in the Netherlands and has restored several gilt leather hangings all over the country during the first half of the 20th century.
To fill the material technical knowledge gap to some extent, nine different gilt leather panels made by Jan Mensing were closely examined during a research internship at the Dutch Cultural Heritage Agency. The purpose of this research was to create an understanding of the
materials used by Jan Mensing. Various analytical techniques were used for this.
The layer structure of eight out of the nine objects was researched and differed considerably, which is possibly caused by later additions of waxes, dressings, varnishes and oils for maintenance. Firstly, more than half of the panels contained a protein based adhesive to adhere the metal leaf to the leather. Shellac was used once, and an yellow ochre paint layer twice. The yellow ochre layer was found thrice in total and appeared to serve as a bole layer on three panels. To pigment the varnish differing pigments were used. On all objects either silverleaf or goldleaf was identified, as described by Jan Mensing in his publications. Possibly sterling silver was used, this should be further investigated. Bovine leather was confirmed in three panels, the other six panels tested positive for subfamily Bovinae, also in accordance with Mensing’s publications. Due to time restrictions the tannins of only two objects were researched, identifying Venetian Sumac and a naturally sourced tanning (possibly oak). Therefore, no clear conclusion can be drawn about the tanning used for the panels at present.
Based on all analytical results, there appears to be a division between panels made before 1909 and after 1909.
Obviously, Jan Mensing improved his production method and changed his use of materials. This research has provided an unique overview of the materials used by the Dutch gilt leather maker Jan Mensing. Results were not entirely unequivocal, however, this research is a start of an insight into materials used for “young” 19th and 20th century gilt leather. Above that, this research has proven that one single gilt leather workshop has been using different materials and techniques, which in itself is a highly important conclusion.
Eloy Koldeweij
Cultural Heritage Agency, The Netherlands
e.koldeweij@cultureelerfgoed.nl
+31-612-556-176
Daniëlle Stobbe
Stichting Restauratie Atelier Limburg, The Netherlands
d.stobbe@sral.nl
+31-620-626-639
MULTI-TECHNIQUE ANALYSIS OF THE GREEN PIGMENT-COATED LEATHER FROM ROYAL PEKING OPERA BOOTS OF THE QING DYNASTY IN THE PALACE MUSEUM
Li Zhao
The green pigment-coated leather adorning historical Peking opera boots (Yellow velvet embroidered tigerpatterned monkey boots) in the Palace Museum stands as a representative example of Chinese traditional leatherwork during the Qing dynasty (1644-1912 AD). Despite the frequent documentation of such green leather artifacts—ranging from footwear to weapon accessories—their material origins and manufacturing techniques have remained scientifically unexplored. This knowledge gap has hindered both technical studies of the evolution of Chinese traditional leathercraft and conservation practices for museum collections.
To address these issues, this study employs an interdisciplinary analytical framework to systematically investigate the leather substrate, pigment composition, and coating techniques. Specifically, the leather species identification was achieved through collagen peptide profiling using matrixassisted laser desorption ionization time-of-flight mass spectrometry (MALDI-TOF MS), with speciesspecific peptides characterized via liquid chromatography-tandem mass spectrometry (LC-MS/MS). Moreover, mineralogical analysis of pigments was conducted using polarized light
microscopy (PLM) and X-ray diffraction (XRD), while the organic components of the coating were decoded by pyrolysisgas chromatography-mass spectrometry (Py-GC-MS) in combination with Fourier transform infrared spectroscopy (FTIR).
Our results revealed that the leather substrate was derived from the donkey (Equus asinus) hide. In addition, the vibrant green coating constituted a tri-component system: (1) copperbased pigments, primarily copper trihydroxychlorides (atacamite/ paratacamite) alongside zincian malachite; (2) animal glue as the adhesive; (3) vegetable oils containing trace amounts of borneol. These results demonstrated a deliberate engineering of material functionality: the complex copper-based pigments regulated the chromatic precision; animal glue ensured pigment adhesion; vegetable oil oxidative cross-linking created a hydrophobic barrier, while borneol likely served as both a fragrance and an antimicrobial agent. Furthermore, degradation products including copper soaps (copper palmitate/stearate) were identified, revealing metal-lipid interactions during natural aging.
Collectively, this study elucidates the composite oil-protein-pigment coating techniques employed in imperial
RESEARCH ON THE PRESERVATION AND INNOVATION OF CHINESE LEATHER CRAFTSMANSHIP: AN OBSERVATIONAL STUDY ON SUSTAINABLE DEVELOPMENT
Miao Wang, Robert Chen, Carolyn Hardaker and Ruth Jindal
Chinese leather craftsmanship, an integral part of the country’s traditional artisanal culture, holds deep cultural and historical significance. However, rapid industrialization and globalization have posed significant challenges to its preservation and continuity. This study explores the inheritance and sustainable development of Chinese leather craftsmanship by examining how traditional techniques are preserved, adapted, and revitalized in contemporary contexts.
By conducting observational research in heritage workshops, artisan studios, and related settings, this study investigates the challenges artisans face in maintaining traditional craftsmanship while adapting to modern market demands. The findings suggest that traditional models of transmission have gradually begun to change, and new approaches are emerging, such as structured education, digital documentation, and modern design integration. Furthermore, the fusion of traditional techniques with contemporary innovations presents both opportunities and challenges for the future of leather craftsmanship.
Miao Wang
Fashion Accessory Art and Engineering College, Beijing Institute of Fashion Technology, China &
De Montfort University, Leicester, UK p2674851@my365.dmu.ac.uk
Robert Chen
De Montfort University, Leicester, UK rchen1@dmu.ac.uk
Carolyn Hardaker
De Montfort University, Leicester, UK
chh@dmu.ac.uk
Ruth Jindal
De Montfort University, Leicester, UK rjindal@dmu.ac.uk
EVALUATING THE EFFECTIVENESS OF ALUM-TAWED PARCHMENT AS A REPAIR MATERIAL FOR BINDINGVS AND MANUSCRIPTS
Gwen
dePolo, Kathryn Kenney, Jesse Meyer, Kelli Stoneburner, Eric Monroe, Renate Mesmer and Fenella France
Preservation of the collection materials at the Library of Congress requires understanding the effectiveness of repair materials suitable for conservation treatments to physically stabilize an object and not negatively impact the object as it ages.
Parchment is commonly found in archival, museum, and library collections as a substrate for manuscripts, printed books, and documents as well as in binding components. For parchment, it is especially important to have repair materials that will respond similarly to hygroscopic changes in the surrounding environment when used for hinges and joints of bindings as well as fills.
An historic recipe for alum-tawed parchment motivated by extant medieval examples and based on a 19th century treatise of animal skin processing recipes has been previously presented as a promising repair material. A particularly appealing aspect of alumtawed parchment is that it is as strong as traditional parchment while being more flexible like leather, making it an ideal repair material for parchment collection items.
The production of these skins involved dehairing, liming, and staking. Different combinations of drying and preparation
methods were also used to assess how those final steps impacted the properties and workability of the resulting alum-tawed parchment.
One of the current unknowns was how alum-tawed parchment ages when prepared using this historic recipe. To address this unknown, material and workability testing was performed on both control skins (parchment and modern alum-tawed) and the alumtawed parchment skins before and after controlled accelerated aging.
The following analytical techniques were used as a multi-modal approach to assess the material properties: direct thermal desorption gas chromatography mass spectrometry, attenuated total reflection Fourier transform infrared spectroscopy, dynamic scanning calorimetry, micro-hot table, fold endurance, tensile testing, and colorimetry. Paring and adhesive testing were performed to assess the workability of the alum-tawed parchment.
While the mechanical and thermal properties of the alum-tawed parchment were promising for the unaged samples, the properties were significantly decreased by moderate accelerated aging. There were also some concerns
about a residue and rancid oil odor coming from the alum-tawed parchment skins, which was identified to be oil exuding from the skins.
After aging, the alum-tawed parchment became less flexible, had reduced shrinkage temperatures, and underwent extensive yellowing. The paring testing demonstrated that the goat skins were easier to pare to a uniform thickness than the calf skins.
This presentation will address the observations and findings from each step of the production, workability, and materials testing of the alum-tawed parchment skins, how they differ from the control skins, and the impact of accelerated aging and resulting concerns about its efficacy as a repair material.
Kathryn Kenney
Renate Mesmer
Conservation and Preservation Department, Folger Shakespeare Library, Washington, D.C. USA
kkenney@folger.edu
+1 (202) 544-4600
Jesse Meyer
Pergamena, Montgomery, NY, USA
jesse@pergamena.net
+1 (845) 457-3834
Gwen dePolo
Kelli Stoneburner
Eric Monroe
Fenella France
Preservation Research and Testing Division, Library of Congress, Washington, D.C., USA
gdepolo@loc.gov
+1 (202) 707-9437
ANCIENT CRAFT MEETS CONSERVATION SCIENCE: DEVELOPING AN IMPROVED FISH PARCHMENT MAKING PROCESS FOR A NEW CONSERVATION REPAIR MATERIAL
Aurelia Sedlmair
Fish parchment was recently investigated for suitability as a conservation material (Krämer, 2021, pp 51-58). While the findings were encouraging, the scale pocket pattern and texture on the fish skins were deemed to make the parchment appearance unsuitable for visible parchment repairs. If fish parchment were smoothened to meet the aesthetic requirements while having physical properties making it suitable for conservation repairs, it would be an excellent material for conservation treatments.
It was hypothesized that a process adapted from mammalian skin parchment making would lead to repeatable and consistent production of a fish parchment that is aesthetically and mechanically suitable for conservation as well as sustainably sourced and manufactured. Suitability was to be determined by scientific assessment using tension and foldability testing as well as differential scanning calorimetry (DSC) to ensure the parchment met expectations of strength, flexibility and durability. Concurrently, experienced conservators tested the fish parchment as a repair material to provide feedback on its qualities in relation to their criteria for a suitable parchment repair material. The information gathered
with this study sought to further the understanding of this new material and aimed to confirm its potential as a new conservation repair material.
The presentation will provide an overview of historical fish skin use, showing where and how fish skin has been used throughout human history to establish that the material qualities of fish skin were known and utilized with a brief segue exploring sourcing and sustainability of the skins. Mammalian and fish skin anatomy and chemistry are compared to highlight differences and similarities with a view to how they might affect the resulting product. A summary of the technical processes of making parchment and how these can be adapted to fish skin follows, leading to the development of a workable and repeatable fish parchmenting process.
Finally, the results of tension, foldability and DSC testing are discussed together with the feedback from experienced conservators to demonstrate the suitability of fish parchment as a new material for conservation.
Aurelia Sedlmair
West Dean College, Sussex, UK ajsedlmair@gmail.com +447899737002
FILLING THE GAP: NEW MATERIALS FOR LEATHER REPAIRS
Daniëlle Stobbe
For the restoration of animal leather wall hangings, animal leather, or non-organic materials such as polyester non-woven or Berger Ethylene Vinyl Acetate 371 (BEVA 371) are generally used. BEVA, an acrylic resin, is harmful to the environment and humans. Polyester nonwoven can be used for patches or linings, it is made of synthetic fibres derived from petroleum, a fossil fuel. Tanning procedures of animal leather are often also harmful to the environment.
Increased awareness of materials’ impact to the environment (sustainability and waste minimization) due to the rapid climate change, and additionally awareness of animal welfare, have become important topics that should be addressed by the heritage sector.
A sustainable material is one that does not require irreplaceable materials (fossil fuels) during its production and that does not harm the environment. In the fashion industry sustainable materials are constantly promoted, for instance with clothes that are made of vegan “leather”. As the name suggests, the texture and appearance of animal leather are imitated as much as possible.
Vegan leather can be made from several materials, ranging from fruits with a high fibre percentage, to synthetics (polyvinyl chloride PVC or polyurethane PU), to bacteria (cellulose based) and fungi
(mycelium or fruiting body based). Vegan leather is indeed more sustainable than animal leather and its carbon footprint is much lower than that of animal leather. However, one exception is synthetic PU based vegan leather that impacts the environment negatively during and at the end of its lifecycle.
This research focused on the usability of this vegan “leather” as repair material for animal leather wall hangings. Researching the potential of vegan leather as an alternative to animal leather tackles the questions of sustainability and animal welfare. Thereby, several topics such as degradation phenomena have not yet been researched regarding bio-sourced leather, and could add to the field. This study is motivated by the desire to broaden the range and scope of nonhazardous restoration materials and to increase awareness of new materials among restorers.
In restoration practice however, sustainability and animal welfare cannot be the primary factor for choosing a material. Safety for the object, durability, discoloration and ageing properties play a role. The absence of specific research on the suitability of vegan leather in restoration motivates this project.
This research examined working properties of several vegan leathers
THE GREENBOOK PROJECT: ECO-FRIENDLY BIOLEATHER FOR BOOK CONSERVATION
Elodie Lévêque, Theanne Schiros, Romare Antrobus, Elias Dolton-Thornton, Simon Raffin, Anne-Laurence Dupont, Laurianne Robinet and Sabrina Paris
The GreenBOOK project, “Generating Renewable Eco-friendly and Nano Bioleather for Book Preservation,” aims to develop a sustainable biofabricated leather alternative specifically designed for book conservation. This initiative is dedicated to creating a material that aligns with sustainable development principles while addressing the preservation needs of historical manuscripts.
The conservation of books has deep roots in craftsmanship, particularly in bookbinding. Traditionally, damaged book covers were conserved with similar materials, predominantly leather. However, sourcing high-quality conservation-grade leather is becoming increasingly difficult, as traditional tanneries close, and the available leathers on the market no longer meet the durability, chemical stability, and ageing properties required for book conservation.
The ageing properties of leather for book conservation are critical to ensuring long-term durability and compatibility with historical bindings. The material must exhibit chemical stability, resisting oxidative and hydrolytic degradation over time. Conservation-grade leather should maintain a near-neutral pH to prevent acid hydrolysis, which accelerates
deterioration. It must also retain sufficient tensile strength and flexibility to withstand repeated handling, allowing the book to open and close without cracking or becoming brittle. Resistance to red rot, a form of degradation caused by sulfur dioxide in the environment, is essential to prolong its lifespan. Dimensional stability is another key factor, as the material should not shrink, or stiffen under fluctuating temperature and humidity conditions. Additionally, exposure to normal levels of light in libraries, archives, or display environments should not lead to significant degradation or fading. Moreover, contemporary concerns regarding the environmental impact of leather production have driven the search for sustainable alternatives. Leather production, a byproduct of the livestock industry, is a leading source of deforestation and greenhouse gas emissions: the tanning process, especially chrome tanning, results in considerable chemical pollution. The fast fashion industry has initiated the development of alternative materials, but these often fail to meet the rigorous standards required for book conservation. Synthetic leathers derived from petrochemicals are nonbiodegradable and release microplastics, posing significant ecological and health
risks. The reliance on imported Japanese paper, although environmentally friendly, does not withstand the mechanical stress of book handling.
The primary goal of the GreenBOOK project is to biofabricate an innovative, eco-responsible leather alternative suitable for book conservation. This material must adhere to the principles of a sustainable circular economy and meet the long-term preservation needs of books: renewability, low-toxicity, low-carbon manufacturing processes, exceptional mechanical performance, natural degradation equivalent to animal leather, stability, and minimal toxicity, as well as minimal gas emissions.
Inspired by the work of Theanne Schiros and Helen Lu, who harnessed bacterial biosynthesis of nanocellulose coupled with paleo-inspired green processing to demonstrate a lecithin-tanned bioleather with improved mechanical and superior flame-retardant properties, low environmental impact, and natural soil degradability, GreenBOOK explores the use of bacterial nanocellulose, a regenerative biopolymer with superior mechanical properties produced by Acetobacter xylinus for book conservation.
The high biosorption capacity of the material was leveraged to incorporate
natural dyes during biosynthesis, eliminating the need for water-intensive dyeing processes. This approach reduces the toxicity associated with traditional leather tanning and dyeing methods. By using natural dyes and bioink print processes, we ensure that the bioleather remains environmentally friendly and safe for long-term use in book conservation.
Our initial tests have yielded promising results. We have successfully tested the strength of our bioleather against traditional leather and Japanese paper, confirming that it meets or exceeds the mechanical performance needed for book conservation. Additionally, we conducted colorfast tests to UV to ensure the material’s resistance to fading over time, which is critical for maintaining the aesthetic integrity of conserved books. The adhesion properties of the bioleather were also evaluated, showing excellent compatibility with various adhesives commonly used in bookbinding. Further mechanical testing, including artificial ageing, are currently underway.
Given the promising performance of bacterial nanocellulose in fashion, footwear, and interiors, GreenBOOK is anticipated to meet or exceed the mechanical and aesthetic standards of
traditional leather. The project’s success will address the critical shortage of highquality materials for book conservation, offering a locally producible, environmentally friendly solution.
Elodie Lévêque
Université Paris 1, Panthéon-Sorbonne, Paris
France
Theanne Schiros
Fashion Institute of Technology, NYC, USA
Romare Antrobus
Fashion Institute of Technology, NYC, USA
Elias Dolton-Thornton
Fashion Institute of Technology, NYC, USA
Simon Raffin
Université Paris 1, Panthéon-Sorbonne, Paris
France
Anne-Laurence Dupont
CRC, MNHN, Paris, France
Laurianne Robinet
CRC, MNHN, Paris, France
Sabrina Paris
CRC, MNHN, Paris, France
INTRODUCTION TO ANALYSIS OF DETERIORATED VEGETABLE TANNED LEATHER BASED ON CHANGES IN THE MORPHOLOGY OF FIBRES IN WET CONDITION
René Larsen, Dorte V.P. Sommer and Kathleen Mühlen Axelsson
The fibre morphological analysis has been used in several qualitative and quantitative studies of parchment deterioration and in few studies of vegetable tanned leather.
During the project ‘Development of a Sulphur Free Full Vegetable Tanned Archival Calf Leather’, the method has been developed further giving important qualitative and quantitative information on the changes of the deteriorated collagen structure in wet condition at ambient temperature which is of particular interest in connection with conservation and restoration.
In addition, it gives an idea of how the leather will react over time during storage in humid environments. Furthermore, we found a significant agreement between the results of the complementary visual fibre analysis and the ATR-FITR analysis, showing that the analytical methods, either in combination or separately, are well suited for use in practical conservation of leather and hide materials.
The paper presents a brief introduction to the collagen structure, the reaction in humidity, the chemical deterioration of leather and the deterioration of collagen at different levels as the basis for a detailed introduction to the performance of the fibre morphological
assessment method.
René Larsen
Conservation Zealand - Knowledge Center for the Preservation of Cultural Heritage, Denmark
renlarbib34@gmail.com
+45 4160 9044
Dorte V.P. Sommer
Conservation Zealand - Knowledge Center for the Preservation of Cultural Heritage, Denmark
dvs@besj.dk
+45 5665 4962
Kathleen Mühlen Axelsson
Head of Preservation and Digitisation
Lund University Library, Lund University, Sweden
kathleen.muhlen_axelsson@ub.lu.se
+46 462 229 093
CONTROLLED ENVIRONMENT NEUTRON RADIOGRAPHY OF VEGETABLE TANNED LEATHER TREATED WITH NANO-BASED PREPARATIONS
M. Odlyha, E. Badea, C. Pearce, G. Burc, C. Carsote, N. Proietti, V. Di Tullio and L. Bozec
Novel nanoparticle-based conservation treatments have been used to retard the degradation of modern aged and historical vegetable tanned leathers. This work was performed in the framework of the EU NanoForArt project (http://www. nanoforart.eu) and results have been reported by some of the authors at the 18th ICOM-CC Triennial conference (1) and at the 11th ICOM-CC interim meeting for leather and related materials (2).
The rationale for the application of alkaline calcium-based nanoparticles was to reduce excess acidity and stabilise the collagen component of leather. The detailed characterisation of the nanomaterials for pH-adjustment are described elsewhere (3). One of the methods used to evaluate the behavior of leather before and after treatment was mechanical testing under controlled environmental conditions (2).
The application of dynamic mechanical analysis with programmed RH (DMARH) proved to be useful in monitoring the effects of accelerated aging of leather and in demonstrating whether the conservation treatment used had an overall beneficial effect. Samples showed a smaller increase in stiffness on aging and considerably less than the untreated accelerated aged samples. For the historical treated samples, small angle X-ray scattering (SAXS) data showed no change in the D-banding of the collagen,
also after thermal ageing (1).
The rationale for further testing the response of leather to moisture using controlled environment neutron radiography was to determine the moisture distribution in the samples. Leather artefacts are known to be sensitive to fluctuations in relative humidity, especially where leather has become more degraded. The aim is to determine how the response of the leather is affected by the presence of the nanoparticles.
Here, we present recent results recorded using controlled environment neutron radiography studies of moisture sorption/ desorption on some of the leather samples that were previously studied in the Nanoforart project. The samples and their method of application and characterization have been previously reported (3).
Additional samples treated with nanobased preparations (4) were also tested by neutron radiography. These samples were obtained from studies performed in the framework of the Romanian KOLLART project (grant no. PED168/2017). They have been characterised using a range of analytical techniques including DMA-RH, Attenuated Total Reflectance Fourier Transform Infrared Spectroscopy (ATR/ FTIR), micro-DSC, shrinkage activity measurements, and synchrotron X-ray diffraction.
For the controlled environment neutron radiography, samples were supported in a specially designed cell connected to a RH controller which enabled the samples to be subjected to a selected relative humidity (RH) programme (similar to the one used for mechanical studies) while exposed in the neutron beam. This experimental setup was used originally to test effects of nanocellulose-based conservation treatment of painting canvases (5).
Our results demonstrated the potential of neutron radiography in following and comparing real-time moisture diffusion dynamics in untreated and treated materials. In this work, complementary moisture distribution maps have been obtained by unilateral nuclear magnetic resonance in response to an increase and a decrease in RH. The moisture diffusion dynamics and moisture diffusion maps are discussed in relation to the nature of nanoparticles and the degradation condition of leather.
E. Badea
Department of Chemistry, Faculty of Sciences, University of Craiova, Craiova, Romania and The Research Institute of the University of Bucharest, Bucharest, Romania
C. Pearce
School of Natural Sciences, Birkbeck, University of London, UK
G. Burca
Diamond Light Source Ltd, Didcot, United Kingdom STFC and ISIS Facility, Rutherford Appleton Laboratory, Harwell Campus, Chilton, Oxon, UK
C. Carsote
Center of Research and Scientific Investigation, National Museum of Romanian History, Bucharest, Romania
N. Proietti
Institute of Heritage Science (ISPC), The National Research Council (CNR), Area della Ricerca di Roma 1, Italy
V. Di Tullio
M. Odlyha
School of Natural Sciences, Birkbeck, University of London, UK
m.odlyha@bbk.ac.uk
+447939660786
Institute of Heritage Science (ISPC), The National Research Council (CNR), Area della Ricerca di Roma 1, Italy
L. Bozec
Faculty of Dentistry, University of Toronto, Toronto, Canada
STUDY ON COLLAGEN/EPICATECHIN COMPOSITES FOR REINFORCING AND PROTECTING LEATHER HERITAGE
Qijue Chen, Fang Wang, Jie Liua, Yong Lei, Jie Liu and Keyong Tang
Leather heritages are mainly composed of collagen and tanning agents, which have significant historical significance. However, external factors such as temperature, humidity, light, and microorganisms may cause the leather heritages to deterioration during preservation, resulting in a loss of their historical value. In this study, we prepared collagen/epicatechin composite (Col/EC) and characterized it to evaluate its potential as a new method for reinforcing and protecting leather heritage.
The leather heritage model samples were made of vegetable-tanned leathers that had undergone aging treatment. Firstly, the new vegetable-tanned leather samples were cut into a shape of 4 cm x 4 cm, and then immersed in a mixture of 4 % w/w Ca(OH)2 and 0.5 % w/w NaOH 0.5 % at 25 °C. After 48 hours, the leather samples were taken out and the surface was cleaned with a 1 % w/w ammonium sulfate solution for 2 minutes. Then, the samples were immersed in deionized water for complete neutralization. Finally, the samples were placed in the oven to be accelerated aging at 120 °C for 4 days. The obtained leather samples were kept at 25°C and 55% RH for subsequent study.
According to characterization, it was determined that hydrogen bonds were formed between collagen and epicatechin, and Col/EC showed enhanced antioxidant capacity (82.5%), compared to the collagen. After reinforcing the aged leather sample with Col/EC composite, the leather collagen fibers seemed to be more tightly interconnected. The mechanical properties, antioxidant properties, and antibacterial activity of the leather-heritage-model samples were significantly improved.
Briefly, the tensile strength of the reinforced leather was increased by 33.2% compared to the unreinforced leather. The introduction of Col/EC composites enhanced the DPPH radical scavenging rate of leather samples from 18.52 % to 65.35 %. During the accelerated simulated aging process, the time required for the mechanical properties of the reinforced leather to decrease by 50% was extended from 6.8 days to 11.2 days. In addition, the surface yellowing phenomenon of reinforced leather had been improved.
The results indicated that the Col/EC composites play a crucial role in filling and enhancing the protection of leather heritage model samples. The study aims to provide a feasible pathway for the
design and production of sustainable multifunctional materials for leather heritages, and to provide guidance for their restoration and conservation.
Qijue Chen
School of Materials Science and Engineering, Zhengzhou University. Zhengzhou 450001, P
R China and Archeology Innovation Center, Zhengzhou University. Zhengzhou 450001, P R
China
Fang Wang
School of Materials Science and Engineering, Zhengzhou University. Zhengzhou 450001, P R
China
Jie Liua
School of Materials Science and Engineering, Zhengzhou University. Zhengzhou 450001, P
R China and Archeology Innovation Center, Zhengzhou University. Zhengzhou 450001, P R
China
Yong Lei
Department of Conservation Science, Palace Museum, Beijing 100009, P R China
Jie
Liu
School of Materials Science and Engineering, Zhengzhou University. Zhengzhou 450001, P
R China and Archeology Innovation Center, Zhengzhou University. Zhengzhou 450001, P R
China
Keyong Tanga
School of Materials Science and Engineering, Zhengzhou University. Zhengzhou 450001, P
R China and Archeology Innovation Center, Zhengzhou University. Zhengzhou 450001, P R
China
A COMPARATIVE STUDY OF FILLERS FOR THE CONSERVATION TREATMENT OF CHROME-TANNED LEATHER
Minseo Kim
This study compares five types of adhesives used as fillers for the conservation treatment of leather: 10% PVA, PVA+GA, neutral glue, 2% MC, and 10% Aquazol 200. With the industrialization, the use of leather has increased, and as leather products are passed down through generations, the need for conservation treatment has grown.
While various studies on leather conservation treatments have been conducted overseas, research related to leather has become active in Korea since the late 2010s. In Korea, most treatments were limited to simple dry cleaning or using restricted materials like glue and water, and there was a lack of research on chemicals that could be practically used for treatment. Therefore, this study was initiated to address the need for research on active conservation treatments, such as adhesives and fillers.
The physical and visual properties of the produced fillers were observed through visual inspection, stereomicroscopy, usability, tensile strength, elongation, contact angle, and color difference. Although the state of degradation was also compared through two weeks of UV degradation, no significant results were observed, possibly due to the short degradation period.
The five types of fillers produced exhibited different properties, and it is believed that appropriate fillers can be selected and used according to the condition of the leather being treated. However, since long-term degradation experiments were not conducted, further research is needed to determine whether the adhesives and fillers used in this experiment can be practically applied to conservation treatment after long-term degradation.
Minseo Kim
Department of Cultural Properties, The Graduate School of Chung-Ang University, South Korea
Canopy
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Leicester, LE1 6WA, UK
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E: info@leatherconservation.org
W: https://leatherconservation.org
Hawthorn Building 00.34
The Gateway Leicester LE1 9BH, UK
T: +44 (0)116 207 8729
E: museum@dmu.ac.uk
W: dmu.ac.uk/museum
