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The International Paper Conservation Seminar has now been held as four face-to-face events and four online events. It is a three-day international event delivered in Spanish and Portugese with keynote talks from national and international conservation professionals from Mexico to Chile presenting projects covering works on paper in diverse formats including documents, photographs historic books, and artworks. Countries such as Argentina, Chile, Bolivia, Peru, Ecuador, Mexico, Paraguay, Uruguay, Colombia, Brazil, Spain and Costa Rica have sent delegates to discuss both the social and cultural aspects of conservation work. The seminar is a completely free event for its attendees. It is intended to be suitable for all, with high-level talks addressing issues of management, preservation, conservation, restoration and disaster recovery among many others. From the third event onwards, training workshops for basic treatments have been developed, with the participation of recognized conservation professionals from universities and international institutes, allowing the number of attendees to remain constant since the Covid-19 pandemic. It creates networks and fosters collaboration for professional and institutional projects. The seminars have generated a connected and active community of paper conservators in the region, aware of our limitations, and capable of solving problems collaboratively and according to local resources. [ABSTRACT FROM AUTHOR]

Calcium hydroxide nanoparticles dispersed in ethanol or 2-propanol have been proposed for deacidification treatments of cellulose-based supports and are currently adopted by many paper and paintings conservators. There is however a risk inherent in this treatment: the dispersion would acquire a highly alkaline pH in the presence of moisture, absorbed by the dispersing alcohol solvents or by the cellulose-based support. Consequently, conditions of potential risk would be created for the structural integrity of the cellulosic supports, for some organic film-forming materials and some colouring matter. The simple tests conducted in this study clearly demonstrate that this risk is real, and suggest a cautious attitude in evaluating the suitability of these nano-dispersions for the treatment of some works of art. [ABSTRACT FROM AUTHOR]

This paper presents the results of a series of tests – using a recently-published set of methodological guidelines referred to here as the Protocol – on varnishes traditionally used in the protection and enhancement of graphic artworks. The aim of the research was to study the characteristics of different varnishes when they are applied to a graphic artwork and to analyze their behavior when exposed to conditions that cause alterations, be these natural factors, accidental, or the result of a conservation intervention. Lastly, the study sought to determine whether each varnish was suitable for conservation purposes. Five varnishes were selected for the study: egg white, gum arabic, shellac, rosin, and dammar. Paper test samples were used to study the characteristics of the recently applied varnishes: dimensions, weight, thickness, color, brightness/gloss, pH, surface appearance, drying time, degree of absorption by the substrate, and adhesion to the substrate. The behavior of varnishes was studied via a series of tests that recreated adverse conditions (humidity, light, and temperature). These tested for resistance to ambient humidity, immersion in water, dry-heat aging, and aging in a climate test chamber. After applying the Protocol it was concluded that the varnishes most resistant to different alteration factors are gum arabic and dammar resin. By contrast, shellac and rosin are the most susceptible to alterations, which precludes their use as a conservation material. As well as indicating the varnishes that present the minimum interaction with the substrate and the greatest long-term durability, the results of this research also provide a useful guide to the behavior of these varnishes for their use in preventive conservation. [ABSTRACT FROM AUTHOR]