SECOND CALL : Protection of the Heritage in France
> From: Michel Van Praet, Chair ICOM-France
>
> To : - Chairpersons of ICOM national and international Committees
> - ICOM's members
> - ICOM-L subscribers
>
>
> Dear Colleague,
>
> The Checking Commission of loans of works of Art from collections of the
> French
> State, was set up in 1997 is in charge of general inventory in France and
> abroad.
>
> The Commission assignements are :
> - to ensure that the correct procedures are used for this inventory, to
> organize it, to set up a working methodology, to create new tools if
> necessary and to initiate studies,
> - to ensure the actual presence of loans entrusted to the holders, their
> condition, to have them photographed, and to establish reports on them,
> - to account for them accuratly,
> - to decide what has happened to any missing works and to prepare reports
> for the Law Courts,
> - to make propositions to the holders of works of art and to the minister
> of culture,
> - and to give a final report to the State audit office stating the results
> of the Commission's findings, the situation of the works and all it's the
> Commission's observations and propostions.
>
> Therefore, one of the working groups, the Label Sub-Commission was created
> to improve all the products and systems to mark the different supports of
> works of art, even traditional or contemporary, These began a few months
> ago, and Mr Jean-René Gaborit, General curator of the Sculptures
> Department
> of the Louvre museum, was nominated as Chair. Most of the meetings were
> held with two laboratories, one of the French museums (C2RMF) and the
> other, the National Laboratory of Tests (LNE).
>
> Few thousands of objects (art collections of the French State) are
> traditionally exhibited in public buildings, offices of Ministries or
> City
> Mayors ... Some of the heads of these administrations are not really proud
> about their responsabilities and an 'educationnal' action is engaged by
> the
> Ministry of Culture to push them to be more aware of their duties.
> In the same time a task force is in charge to performe the inventory of
> these objects. In this goal a survey is engaged to select the better
> marcking processes. ICOM-France is engaged in this action and I ask you to
> kindly answer to the questionnaire below and to send your contibution to :
>
> Commission de Récolement des dépôts d'oeuvres d'art
> to Mrs Genevieve Ravaux, chargée de mission,
> 1 rue Berbier du Mets, 75013 Paris
> (T) (33) (0) 1 44 08 52 96/97
> (F) (33) (0) 1 44 08 52 98
> e-mail : [log in to unmask]
>
>
> This bibliographic study is urgent and has to be completed in January
> 2002. After publishing this study, two years of tests will be necessary to
> report the conclusions to the ICOM members involved in the research.
>
>
> At the end, all the research and tests form of the supports/products
> couples will be printed in a report and the best labels to be used will be
> identified.
>
> The future prospects of this Checking Commission of the loans of works of
> art is to ask the French Committee and the foreign members of ICOM for
> help
> as partners to participate at this research. Next year, the Commission
> will
> publish a general and bibliographic report about the experiences of
> products, labels and tests in France and abroad.
> We thank you very much for your help.
>
> Sincerely
>
> Michel Van Praët
> Chairperson ICOM-France
>
> Jean-Pierre Bady
> President of the Checking Commission of Loans of Works of Art
>
> ****************************
> QUESTIONNAIRE
>
> I - What are the " new " marking processes most commonly used in your
> museums:
> I-A bar-code labels,
> I-B tags,
> I-C chemical and biochemical tracers (fluorescents, DNA synthesis),
> I-D laser graven,
> I-E other processes ?
>
>
> II - The marking processes currently used in your museums are :
> II-A attached to the work of art (thus somehow spoiling its integrity);
> II-B separated from the work of art (not to spoil its
> integrity).
>
> III - How did you chose the process(es) used?
> III-A in compliance with the recommendation of a national or
> federal authority (if so, which authority)?;
> III-B by working together with heritage institutions (if so, which
> instutions)?
> III-C a specialized firm recommended it (which firm)?
> III-D the supplier of a product recommended it (which supplier)?
> III-E thanks to a bibliographic study made on this subject by a
> laboratory;
> III-F other processes?
>
> IV - How were these processes approuved?
> IV-A According to a test protocol defined in association with a testing
> laboratory?
> IV-B What types of tests did the processes underwent to measure their
> strength to environmental stresses to which works of art are submitted:
> - chemical characterisation of marking products, of medium products
> - used when they are applied (binder, glue, varnish, adhesiveS);
> - strength tests to mechanical withdrawal, to changes in the climatic
> - conditions, to chemical agents?
>
> V - Is the selected marking:
> V-A to be directly read?
> V-B to be read with a special device?
>
> VI - On which criteria was the test protocol established?
> - durability,
> - readability;
> - reversibility,
> - irreversibility,
> - safety,
> - withdrawal,
> - others (which criteria)
>
> According to you, what is the mean criteria ?
>
> VII - Did you use ageing test of 10 years, 50 years, more, how many years?
>
> VIII - Is there any comparable study on traditional marking means (paint,
> India ink, labelsS)
>
> IX - Among marking processes you applied, did you have :
> IX-A difficulties in carrying out the process
> IX-B specific problems not referenced in specialized paper or in brochures
> of suppiers?
> Please mention them.
>
> Please send back this questionnaire to:
>
> Commission de Récolement des dépôts d'oeuvres d'art
> to Mrs Genevieve Ravaux, chargée de mission,
> 1 rue Berbier du Mets, 75013 Paris
> (T) (33) (0) 1 44 08 52 96/97
> (F) (33) (0) 1 44 08 52 98
> e-mail : [log in to unmask]
>
>
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