Chromatic restoration of a beech marten taxidermy specimen to resemble its original population: analysing painting products and colour parameters

Abstract

Natural history collections preserve invaluable taxidermy specimens, which are prone to lightinduced degradation, compromising their historical and educational significance. Restoration of these specimens to their original appearance through chromatic reintegration is imperative. The principle of reversibility mandates interventions that are modifiable or reversible without harming the original work, thereby preserving authenticity and enabling future conservation efforts. This study aims to identify the most suitable product for chromatic reintegration of a mammal taxidermy specimen, evaluate its fidelity to the original population, and assess its imperceptibility to the general public during exhibitions. Various products underwent rigorous evaluation for colouration, drying time, coverage, reversibility, safety, and resistance to light degradation. Accelerated aging tests using the Xenotest were conducted to simulate long-term light exposure. A beech marten taxidermy specimen was restored with the chosen dye, and its colour was compared against skins from the original population of the species. Public perception tests were conducted to gauge the ability of people to detect the chromatic restoration during exhibitions. Orasol® dye emerged as the optimal choice for chromatic reintegration, meeting criteria for colouration, reversibility, coverage, and resistance to light degradation. Despite its toxicity for aquatic organisms, it demonstrated promising results. Most colour measurements closely matched the original beech marten population, with minor hue deviations. Public perception tests confirmed the imperceptibility of the chromatic restoration, indicating its suitability for exhibition and educational purposes. This study highlights the importance of authenticity and imperceptibility in restoration processes, emphasizing the need for meticulous consideration of budget constraints in museum settings.