Works of art in the diverse Asian collections at the National Gallery of Australia (NGA) are regularly requested for display. These collections are routinely condition checked and, where appropriate, interventive treatments undertaken. Storage, in particular, has been continually improved. With the closure of the NGA during the initial Covid lockdown in March 2020, and the subsequent decreased demand to prepare works for exhibition, loan and travelling exhibitions, there was an opportunity to investigate Asian works in the NGA Study Collection, with the objective of identifying those excluded from display because of condition. The time available meant that the NGA Paper Conservation team could examine and treat a number of Asian scroll paintings in this collection. The focus of this paper is three Japanese paintings and two Chinese paintings, all on silk supports, with various degraded paper and fabric mounts and backings. After initially viewing the works with Curatorial colleagues, treatment expectations were discussed and established. Background research was undertaken, in terms of generic style and period, together with limited analysis on supports and pigments in order to inform treatment. While further Curatorial research is ongoing, it was possible to agree appropriate potential mounting styles and materials, allowing treatments to progress.

The National Gallery of Australia (NGA) holds a varied and, from a conservation point of view, challenging, collection of new media, including holograms by artists such as Robyn Beeche, Shu-Min Lin, Paula Dawson, and Margaret Benyon. Few artists see the making of a hologram as an integral part of their practice. Paula Dawson and Margaret Benyon are exceptions. Both are pioneers in the area having made and used holograms for many years. While their subject matter and intent are quite different, both artists are attracted by the technical complexities of the media and both use holograms to blur the boundaries between reality and illusion. When works by these artists were requested for loan, it prompted an opportunity for investigation into the history and development of holograms and examination of particular and potential materials and techniques. This paper provides an overview of this information and presents some considerations for conservators working with holograms.

The National Gallery of Australia (NGA) has a successful and wide ranging travelling exhibitions programme enabling works of art from the National Collection to be seen in Australian State and Regional galleries and in galleries in the wider Asia Pacific region. Over the past few years paper conservation staff at the NGA have become increasingly concerned by what appears to be the breakdown of acrylic glazing used in frames for photographs and works of art on paper in these exhibitions. This study is particularly focussed on discussing the various forms of observed deterioration and initial experimental work which has been undertaken in an attempt to simulate this phenomenon, understand the mechanism at work and to ascertain if it is of a physical or chemical nature. Whilst not as successful as hoped, the experimental regimen used will form the basis of further research into this problem. It is believed that vibration, exposure to higher than recommended levels of relative humidity (RH) and possibly even heat are factors in catalysing this effect, and that surface to surface contact between the work of art and the mount with the interior of the glazing is required.

This paper explores the application of Raman spectroscopy to the examination and analysis of a range media commonly found on works of art on paper. In this case all of the works are from the National Gallery of Australia's collection. Discussion specifically focuses on the practical benefits that a detailed knowledge of inks and pigments can have for both conservators and curators. Through the use of several case studies, different aspects of these benefits are highlighted. Consideration is given to the way in which Raman spectroscopy can supplement the commonly used technique of polarized light microscopy in the identification of inorganic and organic pigments. Comparative results using scanning electron microscopy-energy-dispersive x-ray spectrometry and Fourier transform IR microspectroscopy are also discussed. Works examined include an important but previously undisplayed pastel drawing by the Australian modernist painter Grace Cossington-Smith, a sketchbook by the 19th century Aboriginal artist Tommy McRae and an early 20th century European lithographic poster. Copyright (C) 2004 John Wiley Sons, Ltd.

This paper identifies the materials found on a Chinese painting of unknown origin and discusses the implications of this analysis for the treatment of the work. Analysis was carried out using polarised light microscopy and simple microchemical tests.

The National Gallery of Australia has over 80,000 works of art on paper and photographs, the majority of which are stored in Solander boxes. For some years there have been concerns relating to the stability of the construction materials used for these enclosures, and the quality of the microclimates created within. A preliminary study on a range of Solander boxes was undertaken to determine whether harmful levels of gaseous pollutants were prevalent within the boxes used at the National Gallery of Australia. This paper will outline the initial results and analytical methods employed to detect harmful volatile organic compounds (VOCs), using passive air samplers in conjunction with a nitrous oxide monitor used to measure the air exchange rate.

The National Gallery of Australia has a small but significant collection of Aboriginal drawings from the 19th century, the majority being by Tommy McRae. The works are drawn in a variety of inks, inclu ding iron gall ink, with some exhibiting signs of advanced deterioration. Due to their cultural significance and rarity, the drawings are in constant demand for loan and display. A number of factors have been restricting this access - the nature of the works, their fragility and the fact that some are bound in sketchbooks. The complexities of the collection are compounded by confusion over the loose and bound components, exacerbated by a significant number of interleaving sheets showing phantom images of works not in the collection. The project involved close consultation with the NGA Curatorial Department. An approach was developed to allow increased access without compromising the integrity of the works. Establishing the original format of each sketchbook was of primary concern to this research and would allow facsimile sketchbooks to be constructed as part of this approach to access. Conservation treatment was aimed at repairing and strengthening the drawings and investigating methods to arrest degradation. The paper will provide an overview of the collection and its associated problems, with particular reference to the issue of access. Results of materials and techniques analysis, undertaken in collaboration with the University of Canberra, will be presented, highlighting the implications for display.