Schilling, Louise

Watercolor
Pansy Watercolor
Mss.MS.Coll.172

Ernst N. Krackowizer Papers

Series IV. Biographical

EXAMINATION, CONDITION, AND TREATMENT REPORT

Figure 1. Before treatment, recto.

Figure 2. Before treatment, verso.

OBJECT
CALL NUMBER
COLLECTION

Watercolor
Mss. Ms. Coll.172
Ernst N. Krackowizer Papers

ARTIST
TITLE
DATE

Louise Schilling
Pansy Watercolor
1847

DISTINGUISHING MARKS
Signature and date is located in the bottom right corner, handwritten in dark brown ink with the
date below the signature:
Louise Schilling
1847
CONDITION PHOTOGRAPHS
See Appendix
GENERAL HOUSING, MATTING, AND FRAMING as received
None
EXAMINER:
DATE EXAMINED:

Jacklyn Chi, Graduate Summer Conservation Intern

June 27, 2016

REASON FOR TREATMENT

To stabilize the print for its return to storage in the manuscripts collection and preserve its
availability for future exhibitions and scholarship
PHYSICAL DESCRIPTION
Media

Graphite and water color

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Watercolor
Pansy Watercolor
Mss.MS.Coll.172

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Series IV. Biographical

The brown ink tested positive for iron ions, indicating the use of an iron based or iron
contaminated ink, such as iron gall ink or bistre. 1
Extent

Unless otherwise indicated, the height measurements were taken along central axis of the sheet.
Overall
Height: 5 1/4 in. (13.5 cm)
Width: 7 15/16 in. (20.0 cm)

Image
Height: 4 1/8 in. (10.5 cm)
Width: 3 11/16 in. (9.4 cm)

Primary Support
The primary support is a white machine-made wove paper; the paper is thin, homogeneous in
thickness, and has a fine furnish with no impurities observed. When viewed in transmitted light, a strong
grain direction in the sheet is observed, which is indicative of a machine-made paper; also visible are
striations impressed into the sheet from the lattice of the woven mesh. The even fiber distribution
signifies a well formed sheet. Its present color is light beige. The surface is very smooth with minimal
texture, suggestive of a hot press procedure. The paper is likely hard-sized, typically used for watercolor.
In the center of the sheet, is a watercolor painting depicting an arrangement of garden pansy
flowers in a green vase. Identified colors are blue, blue-green, yellow-green, cool yellow, warm yellow,
red, purple, off-white, and lead white. Discrete areas in the image have a glossy appearance primarily
found near the center of open flowers, on the purple petals, and the rim, base, and shadow of the vase; it
appears to be an applied glazing or pigment that has been mixed with a gloss medium.
A signature and date are located in the bottom right corner in brown ink.
According to APS records, the watercolor was removed from the inside of a book owned by Ernst
N. Krackowizer, Greenmont: A Private Sanitarium for Mental and Nervous Diseases by Ralph Lyman
Parsons. This may account for the present condition of the primary support.
CONDITION
PRIMARY SUPPORT
Unless otherwise indicated, left and right distinctions will be based on viewing the object from
the recto.
Strength or Weakness of Materials
The primary support is in poor condition; it is brittle and rigid. Small fiber samples were collected
to test for the presence of lignin 2, which is a common component of wood pulp when used as the source
of cellulose in paper manufacture and often causes acid hydrolysis, promoting the yellowing and
embrittlement of paper. However, the fibers tested negative for lignin, suggesting the paper is not made
from wood pulp. Therefore, the short fiber length of the primary support and its possible prolonged
contact with the acidic leaves of the book it was associated with may be contributing factors for the
overall weakness of the sheet.
Based on the degree of damage along its edges (i.e., tearing, losses), in particular the top, left,
and right, the dimensions of the primary support may have exceeded the dimensions of the book it was
kept in. The bottom edge is the least damaged, and near it is a slight bend that runs the length of the
Indicator paper for iron ions from Preservation Equipment Ltd was used for qualitative ink identification.
The indicator is bathophenanthroline, a compound which complexes with iron (II) ions to yield a pinkmagenta colored complex.
2 When exposed to phloroglucinol stain, also known as C-stain, lignin temporarily turns red. Pre-mixed
acidified phloroglucinol from John D. Hankey & Associates Specialists, Pulp & Paper Microscopy was used.
1

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Pansy Watercolor
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support; both of these observations suggest the bottom edge may have been in the gutter of the book it
was associated with (see Wrinkle, Fold, or Crease).
Water drop tests indicate the paper has a slow rate of absorption (greater than one minute), and
a contact angle of about 90 degrees was observed.
Tears

The sheet is brittle, and as a result many tears are observed.

The right edge has two prominent tears; the top tear is longer and measures 3.8 cm, and the tear
below is shorter and measures 1.7 cm.
The left edge has many small edge tears in the section where the true edge is still extant. Three
prominent tears are located in the areas of loss, which flank the true edge. Two smaller tears are in the
upper half of the sheet; of these, the top tear is shorter and measures 0.3 cm, and the tear below is
longer and measures 0.8 cm. The longest tear is located near the bottom, measures 6.8 cm in length, and
extends a little over a third of the length of the diagonal crease.
Two small triangular shaped losses have associated small tears extending from their vertices; one
is located along the top edge near the top right corner and the other along the left edge near the top left
corner (see Missing Parts, Holes, or Thinning). Another small tear is located along the top edge roughly
11.3 cm from the right edge.
Missing Parts, Holes, or Thinning
All four corners of the sheet are missing.
The irregularity of the right edge is the result of many small losses, producing a jagged
appearance.
The left edge has a section of the primary supports true edge, which is flanked by two large
losses. The losses are more extensive in height than they are in width and exhibit a fairly regular break
edge; the approximate dimension of the topmost loss is 5.8 H x 0.4 W cm, and the bottommost loss is 2.7
H x 0.2 W cm. Creases in the true edge have generated segments that are in danger of disassociating; one
detached piece, presently stored with the watercolor in a separate envelope, appears to be from this
section of the true edge.
There are two small triangular shaped losses, one along the top edge near the top right corner
and the other along the left edge near the top left corner; both have associated tears (see Tears).
Attachments and Adhesives
Attached paper is found in areas with applied glazing: in the shadow of the vase and purple
petals; the paper was skinned off of another sheet that the watercolor was in close contact with, likely
from being previously stored in a book. Magnification of these areas reveal fibers embedded in a clay filler
or surface coating.
Bulge, Warp, Cockle, or Draw
No major distortions are observed and the primary support appears to be in plane.
Wrinkle, Fold or Crease
The primary support is heavily wrinkled overall. A diagonal crease extends the length of the sheet
and runs from the lower left edge to the center of the right edge; it measures 20.5 cm in length.
Approximately 1.5 cm from the bottom edge, there is a bend that runs parallel and extends the
length of the sheet; it is difficult to see in visible light, but readily detectable in raking light. Considering
the watercolors provenance, the uniformity and moderate curvature of the bend suggests it may have
been shaped by a book hinge.
Creases are located at the top left and right corners, where small folds in loss areas are also
present.

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Abrasion

Schilling, Louise
Watercolor
Pansy Watercolor
Mss.MS.Coll.172

No major areas of abrasion are observed.

Insect Damage
No insect damage is observed.
Discoloration
The primary support is discolored overall and exhibits a light beige tone. Oxidative edge
discoloration is observed along all four extant edges, but the remaining section of the sheets true edge
on the left side, is the most discolored from degradation and grime.
On the recto, a small circular, light brown stain is in the lower right quadrant; similar stains are
observed on the verso in the lower half.
When viewing the verso, the shape of the watercolor appears as a silhouette that is whiter or
brighter in appearance. Examination with ultraviolet light did not suggest any migration of the media; it is
possible that alkaline additives in the pigments delayed cellulose degradation in the watercolored areas. 3
Accretions and Grime
On the recto, dark brown particulates are imbedded in small clusters in the upper left quadrant.
On the verso, some dark markings are located near the top edge on the right side; the pattern of
the marks resembles an impression left by a fingerprint and may hold historical value. Preserving its
evidence should be considered during treatment. A series of light brown, powdery specks are located on
the left side.
DESIGN
Abrasion

None

Color or Design Change

Lead white darkening (i.e., reduction of basic lead carbonate to lead (II) sulfide) has resulted in
silvery gray areas in the watercolor, particularly in the petals and highlights where lead white was used as
a component of the color mixture (Hoevel 1985). The lead white darkening has resulted in a severe visual
imbalance and detracts from the aesthetic harmony of the image. Due to the presence of other closely
associated pigments, glazing, and an iron gall ink signature, a targeted application of hydrogen peroxide is
recommended for conversion treatment (see Treatment Proposal).
When examined under long- and short-wave ultraviolet light, areas painted green, purple, and
lead white absorbed strongly and appeared dark. A difference in fluorescence was observed in the
yellows; in short-wave ultraviolet light, the yellows used near the center of flowers fluoresced bright
orange, whereas an adjacent flower with yellow petals did not. However, similar bright yellow-orange
fluorescence was observed in the petals of a white flower located at the top, center of the flower
arrangement. These observations suggest at least two different yellows may have been used.
Gamboge is a yellow-orange gum-resin based pigment; the resin is yellow and soluble in ethanol,
while the carbohydrate (gum) is colorless and soluble in water (Gamboge 2016). The resinous portion of
this pigment may account for the observed fluorescence; however, additional pigment analysis is required
(Grant 2000). It is important to note for treatment considerations that gamboge turns red in dilute alkali
solutions. Another yellow pigment commonly used in watercolor and known to fluoresce is Indian yellow,
which was available during this timeit was not outlawed until 1908and fluoresces yellow (Indian
Yellow 2016).
Raytech Ultraviolet Lamp (Model LS-7CB ), Division of Lyman Products: Longwave 365 nM; Shortwave
254 nM (115 volts; 60 cycles; 0.17 amps)

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Watercolor
Pansy Watercolor
Mss.MS.Coll.172

Solubility testing of the media was conducted using a soft 000 brush with deionized water and
ethanol. The following colors were tested and were found to be water sensitive: blue-green, purple, and
blue. Due to these results, solubility testing of the remaining colors, was not pursued. No swelling of the
media was observed. The purple areas, both with and without glazing, as well as the yellow-green areas
were tested with ethanol. No change was observed in the purple. The yellow-green changed to a coolgreen; this is likely the result of solubilizing the yellow component of the yellow-green mixture. Bathing is
not recommended.
Friable or Powdery
Areas with applied glaze was found to be friable, especially in cracked areas. Friability testing of
the media was conducted by gently probing the media with a soft 000 brush.
Cleavage
None
Flaking and Losses
Some flaking of the media is observed in areas with the applied glazing.
Crack or Crazing
In areas that have applied glazing, cracking is observed in a network of fine lines. When viewed in
transmitted light, light passes through the fissures; when viewed under magnification, it appears that the
cracking goes down to the level of the paper support, indicating the watercolor is also affected. The
expansion and contraction of the glazing in fluctuating environmental conditions may have contributed to
the disturbance observed in the watercolor paint layer.
Some of the glazed surfaces coincide with the use of lead white. Therefore, conversion treatment
of the darkened lead white may be complicated by the presence of the gloss medium, which was found to
be water soluble.

GOAL OF TREATMENT
The primary goal is to improve its structural stability and restore the watercolors visual integrity;
this will be achieved with gentle surface cleaning, mending, and an appropriate lead white conversion
treatment method.
TREATMENT
1.
2.
3.
4.
5.

Photograph prior to treatment.

Mechanically surface clean selectively in the non-image areas of the primary support.
Test solubility of media with deionized water and ethanol.
Mechanically reduce the paper attachments.
Treat the discolored lead white paint with hydrogen peroxide gel to convert the gray lead (II) sulfide
to white lead sulfate (Hoevel 1985). Test treatment options with a viscous gel (i.e., methylcellulose)
and a rigid gel (i.e., Gellan gum); proceed with the gel that has the best performance in terms of its
working properties and safety to the object (i.e., offers the greatest degree of conversion with
minimal residue and change to the surface). The peroxide concentration should be at the lowest level
possible for achieving successful results. Using gels reduces the concentration of the oxidizing agent
and the number of applications needed for treatment (McFarland 1997). Due to the sensitive nature
of the glazing, consider using a lower percent solution of hydrogen peroxide. A sealed environment is
not recommended as the vapors could affect other pigments, inks, and the paper support; mask the
ink signature with cyclododecane to prevent text fading from hydrogen peroxide vapors (Mowery
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Pansy Watercolor
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1991). Wear gloves during treatment as acidic components found in fingerprints can promote the
formation of orange discoloration that eventually turns gray (Hoevel 1985).

Option 1: <3% Aqueous Hydrogen Peroxide in Methylcellulose Gel

Prepare a 2-3% aqueous solution diluted from a hydrogen peroxide stock solution (e.g. 30% stock
solution) using deionized water conditioned with calcium hydroxide (Lussier 2006). Adjust the pH
of the 3% solution to 7.5-8.0 with the addition of ammonium hydroxide or saturated calcium
hydroxide to maximize the efficacy of the peroxide-induced oxidation (Lussier 2006; McFarland
1997). Consider increasing the percentage of the aqueous hydrogen peroxide solution to a
maximum of 5% and/or pH to a maximum of 8.5 only if absolutely necessary (McFarland 1997). 4
Add the resulting solution into pre-mixed 4% methyl cellulose and stir gently for a consistency
resembling paint or topical aloe gel, ensuring minimal formation of air bubbles (Lussier 2006).
Note that the addition of gelling agent will reduce the concentration of the hydrogen peroxide.
The gel can be covered and placed in a refrigerated environment until the viscosity becomes
uniform. The gel should be applied when it has reached room temperature or slightly warmer.
Slight warmth, such as that imparted by a task lamp, may help speed up the conversion reaction.
Apply the peroxide gel to the paint surface using a fine, soft brush. Prevent dehydration by
touching the tip of a brush wetted with alkalized deionized water to the surface of the gel. The
reaction will generally take 3 seconds to 10 minutes to complete.
Monitor progress and if no change occurs, consider brushing the paint surface with ethyl alcohol
before the application of the peroxide gel to saturate the lead (II) sulfide and improve
penetration. Understand, however, that this may cause penetration of the oxidizing agent into
the primary support.
Remove the gel with swabs or by wicking it through desiccated cellulose. Repeat by rehydrating
the gel and wicking again until it has been cleared (McFarland 1997).
After treatment, allow the hydrogen peroxide in the paper to evaporate completely in a fume
hood. The half-life of evaporation is 2.27 hours (Daniels and Thickett 1992).
Make fresh hydrogen peroxide gel at each time of use.

Option 2: <3% Aqueous Hydrogen Peroxide in Gellan Gum

Prepare a 2-3% aqueous solution diluted from a hydrogen peroxide stock solution (e.g. 30% stock
solution) using deionized water conditioned with calcium hydroxide (Lussier 2006). Adjust the pH
of the 3% solution to 7.5 8.0 with the addition of ammonium hydroxide or saturated calcium
hydroxide to maximize the efficacy of the peroxide-induced oxidation (Lussier 2006; McFarland
1997). Consider increasing the percentage of the aqueous hydrogen peroxide solution to a
maximum of 5% and/or pH to a maximum of 8.5 if absolutely necessary (McFarland 1997). 5 Set
aside.

Hydrogen peroxide is stabilized at an acidic pH with sodium stannate or glacial acetic acid to extend its
shelf life. At a higher pH of around 9.5 to 10.8, the more potent free radical, perhydroxyl, HO2, is
produced. Although this alkalinity exceeds the safety threshold for cellulose and media, it is important to
note that an elevated pH will maximize the efficacy of the peroxide-induced oxidation (McFarland 1997).

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Watercolor
Pansy Watercolor
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Preparation for a 2% (w/v) Gellan film: In a 2.0 L glass container, prepare a saline solution by
adding 0.4 g/l of calcium acetate to 1 L of deionized water. Add 20.0 g Gellan gum powder
gradually to the saline solution, while quickly whisking to create a homogenous mixture and
minimize clumping (Hill and Maitland 2016). Cover and heat the gel mixture on a hot plate with a
magnetic stir rod or a microwave at 10 second intervals, stirring with a glass rod in between, until
the gel boils and becomes fully hydrated near 100C; it will appear clear and fluid. Integrate the
hydrogen peroxide solution while the gel solution is still liquid, quickly pour it into a petri dish or
Mylar tray, and allow the gel to set. A thickness of 2-3mm is generally used for most applications
and can be achieved by casting 25 mL of gel into a Mylar tray measuring 3 x 5 inches.
Once cooled, cut out the gel to the desired shape for application. Slightly bevel the edges of the
gel with a scalpel to mitigate against tideline formation (Sullivan 2016). Place the gel over the
area to be treated with a piece of Mylar over top to slow the evaporation of water 6; consider
using a Japanese paper barrier if the gel adheres to the support or glazing (AIC Gellan Gum
Workshop 2016). Slight warmth, such as that imparted by a task lamp, may help speed up the
conversion reaction. Prevent dehydration by touching the tip of a brush wetted with alkalized
deionized water to the surface of the gel. The reaction will generally take 3 seconds to 10
minutes to complete.
Monitor progress and if no change occurs, consider brushing the paint surface with ethyl alcohol
before the application of the peroxide gel to saturate the lead (II) sulfide and improve
penetration. Understand, however, that this may cause penetration of the oxidizing agent into
the primary support.
Remove any gel residues with swabs or by wicking it through desiccated cellulose. Repeat by
rehydrating the gel and wicking again until it has been cleared (McFarland 1997).
After treatment, allow the hydrogen peroxide in the paper to evaporate completely in a fume
hood. The half-life of evaporation is 2.27 hours (Daniels and Thickett 1992).
Make fresh hydrogen peroxide Gellan gum at each time of use.
6.
7.
8.

Mend and stabilize tears and weak edges with Japanese tissue and wheat starch paste.
Compensate losses with inset fills of Western paper, similar in weight and texture to the support.
Use chalk pastel coloring pencils to visually integrate the fill further if necessary.

TREATMENT REPORT
1.
2.
3.

4.

Photographed prior to treatment.

Mechanically surface cleaned selectively in the non-image areas of the primary support with Staedtler
Mars plastic eraser crumbs.
Tested solubility of media with water and ethanol. The following colors were tested and were found
to be water sensitive: blue-green, purple, and blue. The glazing was also found to be water soluble.
Testing with ethanol, the yellow-greens changed to a cool-green, likely the result of solubilizing the
yellow component of the yellow-green mixture.
Mechanically reduced the paper attachments with scalpel manipulation. Consolidated flaking flaze
and media where needed using 0.5% methylcellulose in 1:1 DI H2O: EtOH.

Evaporation of hydrogen peroxide is slower than that of water; the evaporation rate is about 9% of that
of water (Daniels and Thickett 1992).

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Schilling, Louise
Watercolor
Pansy Watercolor
Mss.MS.Coll.172

Delivery methods for hydrogen peroxide to convert the gray lead (II) sulfide to white lead sulfate
were tested in discrete locations. The following tests were conducted:
A. Concentrated solutions of hydrogen peroxide were applied by brush to gauge the
potential effectiveness of conversion through oxidation. A color change to white was
observed in the paint, however the adjacent paper was also bleached. Small droplets of
water and later ethanol were introduced to the test site to try to reactivate the
hydrogen peroxide with minimal success.
B. A 2% concentration of hydrogen peroxide, a concentration more typically used in
practice for lead white conversion, raised to a pH of 8.5 was tested as well. The area
turned from a dark gray to a light gray. Small droplets of water and later ethanol were
introduced to the test site to try to reactivate the hydrogen peroxide with minimal
success.
C. A low viscosity methyl cellulose (15, 000 cPs) conditioned to pH 8.5 was prepared with a
2% concentration of hydrogen peroxide and tested as an alternative delivery method.
The methyl cellulose preparation was allowed to remain on the surface for five minutes;
slight color reversion was observed. Small droplets of water and later ethanol was
introduced over top of the methyl cellulose as an attempt to reactivate the hydrogen
peroxide; minimal improvement was observed. Generally, the methyl cellulose
preparation only served to change the dark gray to a medium gray.
D. 4% Gellan gum soaked in 3% hydrogen peroxide elevated to a pH of 8.5 was prepared:
i. In a 1.0 L glass container, a saline solution was prepared by adding 0.1 g of
calcium acetate to 250 mL of deionized water, then 10.0 g of Gellan gum
powder was gradually added, while quickly whisking to create a homogenous
mixture and minimize clumping. The mixture was covered with plastic wrap
and heated in the microwave until the gel became clear and fluid, then it was
quickly poured into a Mylar tray and allowed to set. A 3% solution of hydrogen
peroxide was prepared from a 30% stock solution by mixing 1 part of the 30%
solution with 9 parts deionized water, then the solution was raised to a pH of
8.5 with calcium hydroxide. Once the Gellan gum set, small pieces were cut and
placed in the alkaline 3% hydrogen peroxide solution to soak overnight.
ii. Small pieces of the hydrogen peroxide infused rigid gel were tested on the lead
(II) sulfide and full color reversion was achieved between 3 to 10 minutes. The
gel was replaced with a fresh application every 5 minutes to mitigate against
the removal of paint, which would occur if the gel dried and stuck to the
surface. Small pieces of Mylar were placed overtop to control evaporation. The
highlights in the white petals, which had a greater probability of having been
white in the watercolor's initial state, were tested first, and conversion was
successful. The purple petals and green leaves were also tested and conversion
was achieved without adversely affecting the color. Prolonged contact with the
water-based gel caused the red and blue paint to solubilize. The glazing was
also solubilized and removed from the surface due to the water content in the
Gellan gum.
Despite the good results achieved from the Gellan gum preparation, conversion with hydrogen
peroxide was not pursued due to complications with the solubility of the media and glazing. Further
testing with a less polar solvent, such as acetone, or a non-aqueous system, such as delivery in an
ether solution, are possible next steps.

6.
7.

Mended and stabilized tears and weak edges with Japanese tissue and wheat starch paste.
Compensated losses with inset fills of Western paper, similar in weight and texture to the support.

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Watercolor
Pansy Watercolor
Mss.MS.Coll.172

Used chalk pastel coloring pencils and color pencils to visually integrate the fills further. Since the
oxidized and discolored edges of the primary support were challenging to visually integrate with the
fills, a compromise was met by toning the fills with small dots to a shade that approximated the
colors observed in the primary support. Losses in the image area were in-painted with watercolor
over a 4% methyl cellulose barrier.

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BIBLIOGRAPHY
AIC Gellan Gum Workshop. 2016. What is Gellan gum and why is it useful to us? Powerpoint slide
presentation at the AIC 44th Annual Conference, Montreal, Canada.
Daniels, V., and D. Thickett. 1992. The reversion of blackened lead white on paper. In IPC Conference
Papers, Manchester, ed. Sheila Fairbrass, 109-115. UK: Institute of Paper conservation.
Gamboge. 2016. CAMEO (Conservation and Art Materials Encyclopedia Online). Museum of Fine Arts,
Boston. Accessed July 9, 2016.
http://cameo.mfa.org/wiki/Gamboge
Grant, M. S. 2000. The use of ultraviolet induced visible-fluorescence in the examination of museum
objects, part ii. National Park Service: Conserve O Gram 1/10.
Hill, G., and C. Maitland. 2016. Gellan gum applications for paper-based objects. Workshop presented at
the AIC 44th Annual Conference, Montreal, Canada.
Hoevel, C. L. 1985. A study of the discoloration of products found in white lead paint films. Book and
Paper Group Annual. 4: 4-14.
Iannuccelli, S., and S. Sotgiu. 2010. Wet treatments of works of art on paper with rigid Gellan gells. Book
and Paper Group Annual. 29: 25-39.
Indian Yellow. 2016. IDEA (Institute for Dynamic Educational Advancement), Pigments Through the Ages.
WebExhibits online museum. Accessed July 9, 2016.
http://www.webexhibits.org/pigments/indiv/overview/indianyellow.html
Lussier, S. M. 2006. An examination of lead white discoloration and the impact of treatment of paper
artifacts: a summar of experimental testing. Book and Paper Group Annual. 25: 9-12.
McFarland, M. 1997. The whitening effects of peroxide gels on darkened lead white paint. Book and Paper
Group Annual. 16: 56-65.
Mowery, J. F. 1991. The conservation of the omenhauser civil war sketchbook. Book and Paper Group
Annual. 10: 10-13.
Sullivan, M. 2016. Gels for paper conservation. Unpubllished manuscript, Winterthur Museum, Gardens,
& Library, Wilmington, DE.

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Pansy Watercolor
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APPENDIX - Documentation photographs.

BEFORE TREATMENT Recto

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Watercolor
Pansy Watercolor
Mss.MS.Coll.172

BEFORE TREATMENT - Verso

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Watercolor
Pansy Watercolor
Mss.MS.Coll.172

AFTER TREATMENT Recto

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Watercolor
Pansy Watercolor
Mss.MS.Coll.172

AFTER TREATMENT - Verso

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