Conservation and restoration of bone, horn, and antler objects

The conservation and restoration of bone, horn, and antler objects is the preservation of objects made from or containing these organic materials by preventative methods and treatments. Because these organic materials are both versatile and durable, they have been used throughout history for various tools and/or ornamentation which may include clothing, jewelry, and decorative art. These objects can be found in personal collections as well as cultural institutions and their collections.

Identification and composition of different bones, horns, and antlers

Many museums contain objects in their collection that are made of either bone, antler or horn. One of the most important steps in the conservation of these objects is determining which material it is.

Bone

Bone, which has a very similar chemical make-up to ivory, consists of inorganic materials which provide strength and rigidity and organic components that provide the capacity for growth and repair. Unlike ivory which has no marrow or blood vessel system, bone has a spongy central portion of marrow from which extends tiny blood vessels.^[1] Bone is also made of both mineral and carbon-based materials; mineral being calcium, phosphorus, and fluoride while the carbon-based being the protein, ossein.^[2] Bone comes from many different animals, including mammals, birds, and fish and can come in all shapes and sizes. It can be used in its natural form, be polished with sand and other abrasives to create a smooth and glossy surface, or can be treated with a burning process which leaves it a blue black to whitish gray color.^[2] Bones have been used to create numerous objects throughout history. From tools such as hammers and fishhooks to weapons such spear, arrow, and harpoon points to pendants, hairpins, gaming pieces, musical instruments and ceremonial objects.^[3]

Antler

Antler, which is a modified form of bone, grows out of the skull bones of certain species of animals and is shed once a year.^[2] It consists of a thick layer of compact bone, an inner section of spongy bone, and internal blood vessels that are less and more irregular than the ones present in bone. It is also denser and heavier^[1] Antler also differs from bone in its external appearance. Skeletal Bone is usually smooth except for areas of attachment while the surface of larger antlers generally has raised bumps and protrusions. Similar to bone, antler can be used in its natural form, be polished with abrasives for a glossy surface, and be treated with a burned process for a charred finish and color.^[2] Antler has been used for numerous objects throughout history including tools such as hammer batons, pressure flakers, and conical arrow points.^[4]

Horn

Horn is the outer covering of a bony outgrowth on an animal's skull. It consists of a mass of very hard, hair-like filaments cemented together around a spongy internal core.^[1] This layering affect continues to grow overtime resulting in a cone-within-cone structure. Unlike antlers, horns are permanent and not seasonally shed. Another distinguishing factor from bone and antler are the fine parallel lines that are present in the surface of the horn. Horn comes in a great variety of sizes and colors that vary from white or green to red brown or black.^[5] Horn can be used in its natural state, boiled, cut, molded to other shapes, or used in flat sheets.^[1] It has been used for a varieties of objects including ceremonial decorations, utensils such as spoons and containers, gaming pieces, and combs.^[5]

Process for utilizing bone, horn, and antler as objects

In general, the same preparation process can be applied to bone, horn, and antler for conversion into usable materials for tools or ornamentation.^[2]

Detaching, or separating the bone, antler, or horn from the muscles and connective tissue of the animal is the first step.
Cleaning, which is the second step, involves removing the blood, marrow and cells from the interior.
Drying in a slow process to avoid cracking and splitting is the third.
Working the bone, antler, or horn into the desired shape and finish is the final step. These methods include cutting with stone or metal tools, polishing with abrasives, burning, and/or decorating with pigments such as ochre or charcoal.

Types of deterioration

There are numerous causes for the deterioration of bone, antler, and horn.^[2]

These causes include:

extreme dryness
excess heat, which leads to the destruction of the protein portion and loss of moisture resulting in shrinkage and surface cracking
excess moisture, which leads to the swelling of the protein portion and promotes mold growth
a combination of both excess heat and moisture can lead to the destruction of ossein resulting in warping and cracking as the materials dry out
pests such as rodents, which may chew and attack these materials especially bone
acids
exposure to strong visible and ultraviolet light which may bleach the natural color of these materials

Preventative conservation

Handling

Like any museum objects, the handling of bone, antler, and horn should be conducted in a manner conducive to maintain the health of the object. These items can be handled with bare hands that are clean and dry. However, body oils can stain the surface of these materials especially because of their matte, porous surface texture or those that are light in color. Wearing cotton or latex gloves is one way to prevent the transition of these harmful oils.

Items that contain bone, antler, and horn should always be lifted and moved in a manner that is fully supportive and does not place unnecessary stress on weak areas or attachment points; using an acid-free tray is highly recommended.^[2] These objects can also be protected further by being wrapped in unbuffered, acid-free tissue paper and/or placed in a sealed polyethylene bag when being transported.^[1]

Basic cleaning

When objects are in good condition, normal surface dirt and grime is removed safely by a few different ways. One way is using a soft brush to lightly dust the object, dislodging dust and debris.^[1] To remove surface dust a variable speed vacuum, soft lint-free cloths, vinyl eraser crumbs, volcanized rubber sponges, and micro-attachments are also tools that can be utilized.^[2]

If dusting alone isn't enough, smooth materials are than cleaned with water and mild soap. A cotton swap is utilized to apply a soapy solution sparingly on surface to dampen it. The surface can not remain damp longer than a few seconds and will immediately be dried with a soft tissue or another cotton swab. The same area will be cleaned again in the same manner to remove any soap film. If the surface is cracked or porous, water will not be applied. Bone is never soaked.^[1]

Storage

Bone, antler, and horn objects are stored in tightly closed display cases or drawers to buffer them from sudden changes in temperature and relative humidity while shielding them from dust and dirt. By storing them in the dark, these light-sensitive materials that are dyed or painted are protected. To prevent bumping and chipping, the storage drawers and shelves are lined with a chemically stable cushioning material such as polyethylene or polypropylene sheeting as opposed to a rubber-based material that can produce unnatural yellowing.^[1] Items with holes, straps, appendages, etc. are never hung or supported by said attachments. Instead, they are stored with a support at the base of the item, and a support for the natural position of the handle or strap.^[2]

Proper storage also aids in the regulation of temperature, relative humidity, and safe illumination levels which can have disastrous effects on these organic materials if they fluctuate. Bone, antler, and horn objects are never stored near radiators, heat pipes, outside windows, or incandescent lights because they can cause excessive drying and temperature fluctuations.^[2]

Temperature is kept as constant as possible, no greater than 68 degrees Fahrenheit with no fluctuations of more than +/- 3 degrees a day.^[2]
Relative Humidity is kept at a level between 30 percent (in the winter) and 55 percent (in the summer) with fluctuations of no more than 15 percent during each season.^[2]
Illumination is kept below 150 lux, with the ultraviolet (UV) component restricted to 75. Dyed objects are extremely light-sensitive and being exposed to lux levels more than 50 is damaging. Maintaining low light levels and using lights that emit less radiant heat is an effective way to prevent damage. Shining direct bright light on tightly sealed storage units can reproduce high temperatures and high RH internally, putting the stored objects at risk.^[1]

Integrated pest management

Although bone, antler, and horn are not particularly susceptible to insect damage, they can be damaged by rodent attacks and mold growth. Rodents and other small mammals can gnaw on the surface of these items, causing structural damage. Maintaining good housekeeping, following an IPM program, and hold regular pest control checks will help prevent a rodent infestation.^[2]

Mold can infest these organic objects when the relative humidity in storage and display areas exceeded 60 percent for extended periods of time. White or greenish fuzzy growth on the surface of these objects is an indicator of a mold infestation. Good ventilation and air circulation prevents mold as well as properly regulating relative humidity levels.^[2]

Display issues

Preventive care can protect bone, antler, and horn objects from damaging elements, but objects on display are put at risk and therefore need to be carefully monitored. Maintaining proper levels of temperature and relative humidity is important to protect the health of these objects on display. Rotating bone, antler, and horn items on display at a set time line prevents certain objects from being exposed for extended periods of time.

Light damage: extended exposure to harmful light results in surface color being bleached and excessive drying. Consulting a conservator or exhibition light specialist for proper exhibition lighting can help prevent this.^[2]
External supports: supports and mounts are fabricated from safe materials. Attaching items to mounts is done with padded wires or flat acyclic plastic clips. Metals in direct contact with these organic objects causes damage; fats that may remain in these organic items react with the metals, forming corrosion. The use of adhesive mounts is avoided.^[2]

Interventive conservation

When issues arise in objects made of bone, antler, and horn that need extensive treatment, a conservator should be consulted. Some treatments include:

Intensive cleaning

Removal of Surface Dirt: when minimal dusting and maintenance are not successful in removing surface dust, a conservator may perform more intensive cleaning utilizing water and a safe cleaner.^[6]
Removal of Soluble Salts: organic materials from a salty environment will invariably absorb soluble salts that will crystallize as the object dries. Salt crystallization will cause surface flaking and may result in irreversible damage. Conservators will remove the soluble salt to make the object stable by utilizing water with certain levels of chloride and ionization only if the object is structurally sound. If the object is not structurally sound an Acryloid B-72/water solution will be utilized.
Removal of Insoluble Salts and Stains: to remove insoluble salts and stains, conservators will either utilize a mechanical method with picks and other tools or a chemical treatment.

Harmful Conservation Treatments

When addressing minor repairs and minimal cleaning of object containing bone, antler, and horn there are some methods/products that are avoided.^[2]

Liquid-base cleaners or detergents used to clean surface dirt and dust can damage the objects.
Over-the-counter adhesives used to repair cracks and breaks can stain and become brittle over time. It is important to note that cracks and break in these organic materials can be indicators and evidence of an objects use and history and therefore should not be addressed unless the health of the object is in danger.
Wax or other protective coating used to make repairs obscure surface details, cause discoloring of the surface and are often impossible to remove without causing further damage.

Always consult a conservator before progressing with a treatment.

References

1 2 3 4 5 6 7 8 9 "Care of Ivory, Bone, Horn, and Antler". Canadian Conservation Institute. Retrieved 24 April 2016.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 "Bone, Antler, Ivory, and Teeth" (PDF). Minnesota Historical Society. Retrieved 24 April 2016.
↑ "Anthropology: Bone, Antler, and Tooth Artifacts". Carnegie Museum of Natural History. Retrieved 24 April 2016.
↑ "Bone Tools". The Office of the State Archaeologist. The University of Iowa. Retrieved 24 April 2016.
1 2 "Horn". AIC Wiki. Retrieved 24 April 2016.
↑ Hamilton, Donny. "Methods of Conserving Archaeological Material from Underwater Sites" (PDF). Center for Maritime Archaeology and Conservation. Retrieved 24 April 2016.

External links

Conservation-restoration of cultural heritage

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Expertise	Art handler Collection manager Conservator-restorer Conservation scientist Conservation technician Curator Exhibition designer Mount maker Objects conservator Paintings conservator Photograph conservator Preservationist Registrar (museum) Textile conservator

Area specialities	Antiques restoration Archaeology Bioarchaeology Building restoration Conservation science Digital photograph restoration Digital preservation Database preservation Film preservation Frame conservation Heritage science Historic preservation Media preservation Object conservation Optical media preservation Painting conservation Preservation (library and archival science) Restoration Sustainable preservation Web archiving

Techniques	Aging (artwork) Anastylosis Arrested decay Archaeological sites Architecture Automobiles Bone, horn, and antler objects Books, manuscripts, documents and ephemera Ceramic objects Clocks Copper-based objects Feathers Flags and banners Frescos Fur objects Glass objects Historic gardens Human remains Illuminated manuscripts Iron and steel objects Ivory objects Lacquerware Leather objects Lighthouses Metals Musical instruments Neon objects New media art Outdoor artworks Outdoor bronze objects Outdoor murals Paintings Painting frames Parchment Photographs Plastic objects Shipwreck artifacts Silver objects Stained glass Textiles Tibetan thangkas Time-based media art Totem poles Vehicles Vinyl discs Woodblock prints Wooden furniture Cradling (paintings) Detachment of wall paintings Desmet method Fabric restoration Historic paint analysis Inpainting Kintsugi Leafcasting Lining of paintings Mass deacidification Mold control and prevention in libraries Mold prevention Overpainting Paper splitting Radiography of cultural objects Reconstruction (architecture) Textile stabilization Transfer of panel paintings UVC-based preservation

Notable projects	Conservation issues of Pompeii and Herculaneum Conservation-restoration of Ecce Homo by Elías García Martínez Conservation-restoration of Leonardo da Vinci's The Last Supper Conservation-restoration of the Shroud of Turin Conservation-restoration of the Sistine Chapel frescoes Conservation-restoration of the Statue of Liberty

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