Papers by Leonor Loureiro
EnglishThe sculptor Delfim Maya has a very vast work, dispersed within the family and national mu... more EnglishThe sculptor Delfim Maya has a very vast work, dispersed within the family and national museums. The IPT’s Paper Conservation and Restoration Laboratory intervened in a set of drawings and caricatures belonging to one granddaughter, Maria Jose Maya, for three exhibitions within the framework of the 130 years’ artist’s birth celebrations. The oeuvres showed identical pathologies – dirt, stains, glues, tears, lacunae. The conservation and restoration intervention was carried out by students of the Masters in Conservation and Restoration during the first half of 2016-17. The diversity of paper types found – foolscap, bond, trancing, letter, and others – led to the development of a wider study of the paper supports that this artist used. This article intends to make known the work done so far, paper characteristics showed, and the fourteen Portuguese and foreign watermarks found. portuguesA obra do escultor Delfim Maya e bastante vasta e encontra-se dispersa pela familia e por mu...
EnglishA master’s degree internship started in October 2016, to study, conserve and restore 215 b... more EnglishA master’s degree internship started in October 2016, to study, conserve and restore 215 books from the Shelf XIV “Greek, Latin and Italian poets”, from the Library of the National Palace of Mafra. During the cleaning works, a watermarks survey present in these books was determined as very important and a contribution to the knowledge on watermarks production. A total of 99tracing paper drawings and respective photographic records were produced by using a LED Fibre Optic Light Sheet. To this date, it was not yet possible to identify without doubts the origin of production of these papers, but representations were found from varied heraldry, to motifs with animals, flowers, knight, anchor, sun, moon, orb, and different crosses, among others. The main purpose of these paper is to show and talk about the diversity of watermarks found and their typological context. portuguesEm outubro de 2016 foi iniciado um estagio de mestrado relativo ao estudo, conservacao e restauro de um con...
New Trends and Issues Proceedings on Humanities and Social Sciences, Jan 27, 2016
The Project Creative Conservation was developed at the Conservation and Restoration Laboratory / ... more The Project Creative Conservation was developed at the Conservation and Restoration Laboratory / Polytechnic Institute of Tomar (IPT) as a form to recover, preserve and show in a new way industrial remnants and derelicts, complying with welldefined criteria for collection and selection of those fragments. As a new concept, it needed to be experimented, so students were involved in its practice, which enabled theory demonstrations and maintained a dynamic university learning atmosphere. This paper presents the challenges posed to three Conservation and Restoration teachers: Different ways to explain new and controversial information, engaging students for the Creative Conservation concept, developing practical extra work, learning and improving hands-on skills, and to practice team-work within a Conservation Laboratory and a Museum environment. A series of three different workshops were designed as learning tools to allow students to develop conservation skills, discuss problem solving and practice "out of the box" thinking, under the Project Creative Conservation, within the specialties of ceramics, tiles, metal, plastics and paper remnants preservation. It was also provided the chance to create different exhibition methods, installation and exhibition display. A good percentage of students were enthusiastic and complied with the conservation challenges posed by teachers and by remnants themselves. The fragments were properly preserved and differently displayed in exhibitions. The IPT conservation teacher's competencies and enthusiasm towards teaching a different concept within a practical frame enabled students to broad their view in the conservation field and widen the classical approach to conservation and restoration.
Restaurator. International Journal for the Preservation of Library and Archival Material, 2019
Perforated cardboards were common and economic supports for embroidery in the Victorian Era. Desp... more Perforated cardboards were common and economic supports for embroidery in the Victorian Era. Despite their popularity, they had a brief life and are almost forgotten today. Different types of cardboard were chosen according to the materials and techniques to be applied. This article presents nineteenth century documentary sources on perforated cardboard and its use in various objects of everyday life. The types of cardboard, commercialization, decorative techniques and motifs and applied materials will be discussed.
International Journal of Learning and Teaching, 2016
Background: The Polytechnic Institute of Tomar (IPT), located in the center of Portugal, has crea... more Background: The Polytechnic Institute of Tomar (IPT), located in the center of Portugal, has created the Academy of Science, Art and Heritage for children aged eight to fourteen, during their vacations, since 2013, with the aim to educate, stimulate creativity and learning through observation, experimentation and construction, by making available a scientific, diversified and happy learning environment. Purpose: This paper presents the work and challenges IPT Laboratories of Archaeology, Conservation and Restoration, Chemistry, Engineering, Graphic Arts, Physics, Photography and Tourism were faced with in elaborating and run small practical workshops for two groups of up twelve children. Methods: With a duration of one and a half hour, the workshops run with the help of a teacher or technician, plus IPT student-monitors, and are organized to allow a space to learn how to perform, test, apply and/or be creative with the recently acquired knowledge. For a symbolic enrolment tuition, t...
Conservar Património
Perforated cardboard is a rigid material widely used during the second half of the 19th century a... more Perforated cardboard is a rigid material widely used during the second half of the 19th century as an embroidery support, but very little-known today. Intervention cases are rare, and so an intervention on a poor condition 1879 glass beads embroidered specimen is presented here. The intervention was a complex task, mainly due to the fragility of the object and the existence of different materials linked to each other, that did not allow the execution of treatments to which they are usually subjected when isolated. The most intricate operation was the simultaneous action of micro-consolidation and micro-infill. These involved the insertion of Japanese paper fibres and 4 % Tylose MH300 between the perforated paper layers, and the insertion of Japanese paper strips between the embroidery lines. For the embroidery housing, it was necessary simultaneously to avoid the most unfavourable conditions for both the preservation of the glass and the paper.
Restaurator, 2019
Perforated cardboards were common and economic supports for embroidery in the Victorian Era. Desp... more Perforated cardboards were common and economic supports for embroidery in the Victorian Era. Despite their popularity, they had a brief life and are almost forgotten today. Different types of cardboard were chosen according to the materials and techniques to be applied. This article presents nineteenth century documentary sources on perforated cardboard and its use in various objects of everyday life. The types of cardboard, commercialization, decorative techniques and motifs and applied materials will be discussed.
Conservar Património, 2019
O papel perfurado é um material rígido muito usado como suporte de bordados na 2.ª metade do sécu... more O papel perfurado é um material rígido muito usado como suporte de bordados na 2.ª metade do século XIX, mas muito pouco conhecido actualmente. Os casos de intervenção são raros e, por isso, apresenta-se aqui a intervenção de um exemplar bordado com missangas de vidro, de 1879, que se encontrava em mau estado de conservação. A intervenção foi complexa, sobretudo devido à fragilidade da obra e à existência de diferentes materiais ligados entre si que não permitiam os tratamentos a que estes são habitualmente sujeitos quando isolados. A operação mais complexa foi a acção simultânea de microconsolidação e micropreenchimento que envolveu a inserção de fibras de papel japonês e Tylose MH300 a 4 % entre as camadas do papel perfurado e a inserção de tiras de papel japonês por entre as linhas do bordado, entrelaçando-as com estas. Para o acon-dicionamento do bordado, foi necessário simultaneamente evitar as condições mais desfavoráveis para a conservação do vidro e do papel.
Perforated cardboard is a rigid material widely used during the second half of the 19th century as an embroidery support, but very little-known today. Intervention cases are rare, and so an intervention on a poor condition 1879 glass beads embroidered specimen is presented here. The intervention was a complex task, mainly due to the fragility of the object and the existence of different materials linked to each other, that did not allow the execution of treatments to which they are usually subjected when isolated. The most intricate operation was the simultaneous action of mi-cro-consolidation and micro-infill. These involved the insertion of Japanese paper fibres and 4 % Tylose MH300 between the perforated paper layers, and the insertion of Japanese paper strips between the embroidery lines. For the embroidery housing, it was necessary simultaneously to avoid the most unfavourable conditions for both the preservation of the glass and the paper.
In Actas del XII Congreso Internacional História del Papel en la Península Ibérica, Tomo I, Asociación Hispánica de Historiadores del Papel, Câmara Municipal de Santa Maria da Feira, Santa Maria da Feira, 2017, pp. 381-409, 2017
Em outubro de 2016 foi iniciado um estágio de mestrado relativo ao estudo, conservação e restauro... more Em outubro de 2016 foi iniciado um estágio de mestrado relativo ao estudo, conservação e restauro de um conjunto de 215 livros da Estante XIV “Poetas Gregos, Latinos e Italianos”, que se encontram na Biblioteca do Palácio Nacional de Mafra. Aquando da limpeza de todo o acervo mencionado, concluiu-se sobre a relevância de um levantamento das marcas de água presentes nos livros. O levantamento foi efetuado mediante utilização de folha de luz LED e papel vegetal, onde foi reunido um conjunto de 99 marcas de água, completas e parcelares, e respetivos registos fotográficos. Tendo sido inicializado o processo de identificação/origem das mesmas, foram encontradas várias tipologias, desde heráldica variada, a motivos com animais, flores, cavaleiro, âncora, sol, lua, orbe, cruzes diversas, entre outros. O objetivo fundamental desta primeira fase do trabalho prende-se com a divulgação da diversidade destas marcas de água e o seu enquadramento tipológico.
A master's degree internship started in October 2016, to study, conserve and restore 215 books from the Shelf XIV “Greek, Latin and Italian poets”, from the Library of the National Palace of Mafra. During the cleaning works, a watermarks survey present in these books was determined as very important and a contribution to the knowledge on watermarks production. A total of 99 tracing paper drawings and respective photographic records were produced by using a LED Fibre Optic Light Sheet. To this date, it was not yet possible to identify without doubts the origin of production of these papers, but representations were found from varied heraldry, to motifs with animals, flowers, knight, anchor, sun, moon, orb, and different crosses, among others. The main purpose of these paper is to show and talk about the diversity of watermarks found and their typological context.
In Actas del XII Congreso Internacional História del Papel en la Península Ibérica, Tomo II, Asociación Hispánica de Historiadores del Papel, Câmara Municipal de Santa Maria da Feira, Santa Maria da Feira, 2017, pp. 433-456., 2017
A obra do escultor Delfim Maya é bastante vasta e encontra-se dispersa pela família e por museus ... more A obra do escultor Delfim Maya é bastante vasta e encontra-se dispersa pela família e por museus nacionais. O Laboratório de Conservação e Restauro de Documentos Gráficos do Instituto Politécnico de Tomar teve a oportunidade de intervencionar um conjunto desenhos e caricaturas pertencentes à sua neta Maria José Maya, para as exposições no âmbito das comemorações dos 130 anos do nascimento do artista.
Acondicionadas de modo semelhante, apresentavam patologias idênticas – sujidades, manchas, colas, rasgões, lacunas. A intervenção de conservação e restauro foi efectuada pelas alunas do Mestrado em Conservação e Restauro, durante o primeiro semestre de 2016-17.
A diversidade de papéis encontrados – almaço, bond, vegetal, carta e outros – levou ao desenvolvimento de um estudo mais alargado dos suportes em papel que este artista utilizou. Este artigo pretende divulgar o trabalho até agora efectuado, algumas características dos papéis utilizados e as quatorze marcas de água portuguesas e estrangeiras encontradas.
The sculptor Delfim Maya has a very vast work, dispersed within the family and national museums. The IPT’s Paper Conservation and Restoration Laboratory intervened in a set of drawings and caricatures belonging to one granddaughter, Maria José Maya, for three exhibitions within the framework of the 130 years’ artist's birth celebrations.
The oeuvres showed identical pathologies – dirt, stains, glues, tears, lacunae. The conservation and restoration intervention was carried out by students of the Masters in Conservation and Restoration during the first half of 2016-17.
The diversity of paper types found – foolscap, bond, tracing, letter, and others – led to the development of a wider study of the paper supports that this artist used. This article intends to make known the work done so far, paper characteristics showed, and the fourteen Portuguese and foreign watermarks found.
Leonor Loureiro, Ricardo Triães, Cláudia Falcão, "Educational tools for involving higher degree students within the Project Creative Conservation", New Trends and Issues Proceedings on Humanities and Social Sciences, 8, 2016, pp. 32-40, 2016
The Project Creative Conservation was developed at the Conservation and Restoration Laboratory / ... more The Project Creative Conservation was developed at the Conservation and Restoration Laboratory / Polytechnic Institute of Tomar (IPT) as a form to recover, preserve and show in a new way industrial remnants and derelicts, complying with well-defined criteria for collection and selection of those fragments. As a new concept, it needed to be experimented, so students were involved in its practice, which enabled theory demonstrations and maintained a dynamic university learning atmosphere. This paper presents the challenges posed to three Conservation and Restoration teachers: Different ways to explain new and controversial information, engaging students for the Creative Conservation concept, developing practical extra work, learning and improving hands-on skills, and to practice teamwork within a Conservation Laboratory and a Museum environment. A series of three different workshops were designed as learning tools to allow students to develop conservation skills, discuss problem solving and practice " out of the box " thinking, under the Project Creative Conservation, within the specialties of ceramics, tiles, metal, plastics and paper remnants preservation. It was also provided the chance to create different exhibition methods, installation and exhibition display. A good percentage of students were enthusiastic and complied with the conservation challenges posed by teachers and by remnants themselves. The fragments were properly preserved and differently displayed in exhibitions. The IPT conservation teacher's competencies and enthusiasm towards teaching a different concept within a practical frame enabled students to broad their view in the conservation field and widen the classical approach to conservation and restoration.
Cristina Costa, Leonor Loureiro, "Learning by Experimentation: children laboratory experiences at the higher environment of the Polytechnic Institute of Tomar", International Journal of Learning and Teaching, 8(2), 2016, pp. 119-128, 2016
Background: The Polytechnic Institute of Tomar (IPT), located in Central Portugal, created the Ac... more Background: The Polytechnic Institute of Tomar (IPT), located in Central Portugal, created the Academy of Science, Art and Heritage (ACAP) in 2013 for children aged eight to fourteen. Running during holiday periods, the ACAP was created with the purpose of educating by stimulating creativity and learning through observation, experimentation and construction in a scientific, diversified and happy learning environment. Purpose: This paper describes the work and challenges faced by IPT Laboratories of Archaeology, Conservation and Restoration, Chemistry, Engineering, Graphic Arts, Physics, Photography and Tourism in the organisation and conduction of mini practical workshops for groups of up to twelve children. Methods: With the maximum duration of one and a half hours, the workshops are conducted by a teacher or lab technician with the assistance of IPT student monitors and are organized so as to provide a learning space to perform, test and creatively apply recently acquired knowledge. For a symbolic enrolment tuition, the children stay within IPT premises for a full day and are offered lunch and two snacks. Results: Children's increasing interest in work in a laboratory environment, gradual development of their skills, reasoning and motor dexterity capabilities, the learning experience as part of a team, the increasing interest and happiness of parents, and the positive contribution of IPT in helping student monitors financially, as well as the dissemination of IPT work and expertise among the local population. Conclusions: The positive and increasingly high development of the children and the beneficial interaction between the university environment and its local population.
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Papers by Leonor Loureiro
Perforated cardboard is a rigid material widely used during the second half of the 19th century as an embroidery support, but very little-known today. Intervention cases are rare, and so an intervention on a poor condition 1879 glass beads embroidered specimen is presented here. The intervention was a complex task, mainly due to the fragility of the object and the existence of different materials linked to each other, that did not allow the execution of treatments to which they are usually subjected when isolated. The most intricate operation was the simultaneous action of mi-cro-consolidation and micro-infill. These involved the insertion of Japanese paper fibres and 4 % Tylose MH300 between the perforated paper layers, and the insertion of Japanese paper strips between the embroidery lines. For the embroidery housing, it was necessary simultaneously to avoid the most unfavourable conditions for both the preservation of the glass and the paper.
A master's degree internship started in October 2016, to study, conserve and restore 215 books from the Shelf XIV “Greek, Latin and Italian poets”, from the Library of the National Palace of Mafra. During the cleaning works, a watermarks survey present in these books was determined as very important and a contribution to the knowledge on watermarks production. A total of 99 tracing paper drawings and respective photographic records were produced by using a LED Fibre Optic Light Sheet. To this date, it was not yet possible to identify without doubts the origin of production of these papers, but representations were found from varied heraldry, to motifs with animals, flowers, knight, anchor, sun, moon, orb, and different crosses, among others. The main purpose of these paper is to show and talk about the diversity of watermarks found and their typological context.
Acondicionadas de modo semelhante, apresentavam patologias idênticas – sujidades, manchas, colas, rasgões, lacunas. A intervenção de conservação e restauro foi efectuada pelas alunas do Mestrado em Conservação e Restauro, durante o primeiro semestre de 2016-17.
A diversidade de papéis encontrados – almaço, bond, vegetal, carta e outros – levou ao desenvolvimento de um estudo mais alargado dos suportes em papel que este artista utilizou. Este artigo pretende divulgar o trabalho até agora efectuado, algumas características dos papéis utilizados e as quatorze marcas de água portuguesas e estrangeiras encontradas.
The sculptor Delfim Maya has a very vast work, dispersed within the family and national museums. The IPT’s Paper Conservation and Restoration Laboratory intervened in a set of drawings and caricatures belonging to one granddaughter, Maria José Maya, for three exhibitions within the framework of the 130 years’ artist's birth celebrations.
The oeuvres showed identical pathologies – dirt, stains, glues, tears, lacunae. The conservation and restoration intervention was carried out by students of the Masters in Conservation and Restoration during the first half of 2016-17.
The diversity of paper types found – foolscap, bond, tracing, letter, and others – led to the development of a wider study of the paper supports that this artist used. This article intends to make known the work done so far, paper characteristics showed, and the fourteen Portuguese and foreign watermarks found.
Perforated cardboard is a rigid material widely used during the second half of the 19th century as an embroidery support, but very little-known today. Intervention cases are rare, and so an intervention on a poor condition 1879 glass beads embroidered specimen is presented here. The intervention was a complex task, mainly due to the fragility of the object and the existence of different materials linked to each other, that did not allow the execution of treatments to which they are usually subjected when isolated. The most intricate operation was the simultaneous action of mi-cro-consolidation and micro-infill. These involved the insertion of Japanese paper fibres and 4 % Tylose MH300 between the perforated paper layers, and the insertion of Japanese paper strips between the embroidery lines. For the embroidery housing, it was necessary simultaneously to avoid the most unfavourable conditions for both the preservation of the glass and the paper.
A master's degree internship started in October 2016, to study, conserve and restore 215 books from the Shelf XIV “Greek, Latin and Italian poets”, from the Library of the National Palace of Mafra. During the cleaning works, a watermarks survey present in these books was determined as very important and a contribution to the knowledge on watermarks production. A total of 99 tracing paper drawings and respective photographic records were produced by using a LED Fibre Optic Light Sheet. To this date, it was not yet possible to identify without doubts the origin of production of these papers, but representations were found from varied heraldry, to motifs with animals, flowers, knight, anchor, sun, moon, orb, and different crosses, among others. The main purpose of these paper is to show and talk about the diversity of watermarks found and their typological context.
Acondicionadas de modo semelhante, apresentavam patologias idênticas – sujidades, manchas, colas, rasgões, lacunas. A intervenção de conservação e restauro foi efectuada pelas alunas do Mestrado em Conservação e Restauro, durante o primeiro semestre de 2016-17.
A diversidade de papéis encontrados – almaço, bond, vegetal, carta e outros – levou ao desenvolvimento de um estudo mais alargado dos suportes em papel que este artista utilizou. Este artigo pretende divulgar o trabalho até agora efectuado, algumas características dos papéis utilizados e as quatorze marcas de água portuguesas e estrangeiras encontradas.
The sculptor Delfim Maya has a very vast work, dispersed within the family and national museums. The IPT’s Paper Conservation and Restoration Laboratory intervened in a set of drawings and caricatures belonging to one granddaughter, Maria José Maya, for three exhibitions within the framework of the 130 years’ artist's birth celebrations.
The oeuvres showed identical pathologies – dirt, stains, glues, tears, lacunae. The conservation and restoration intervention was carried out by students of the Masters in Conservation and Restoration during the first half of 2016-17.
The diversity of paper types found – foolscap, bond, tracing, letter, and others – led to the development of a wider study of the paper supports that this artist used. This article intends to make known the work done so far, paper characteristics showed, and the fourteen Portuguese and foreign watermarks found.