Month: June 2017

45th Annual Meeting – Research and Technical Studies Session, June 1, ” Early Intervention for At-Risk 21st Century Fugitive Media” by Fenella France

Dr. Fenella France touched on many questions near and dear to any conservation scientist’s heart, including my own, during her talk at the Research and Technical Studies session on Thursday morning. 1) How can effectively controlling environmental parameters reduce the need for invasive intervention? 2) What is the nature and impact of the interaction between media and substrate and 3) How can our findings, as scientists, impact the production of artists’ materials? Continue reading “45th Annual Meeting – Research and Technical Studies Session, June 1, ” Early Intervention for At-Risk 21st Century Fugitive Media” by Fenella France”

45th Annual Meeting – Paintings Session, June 1, “A Colonial Portrait and a Mystery,” by Rustin Levinson.

Rusty Levinson’s talk was perfectly fitting as the final Paintings Specialty Group presentation. The talk was informative and had some levity and humor to boot.

The portrait (see an auction photo before treatment at left), treated and researched by ArtCare Miami with technical analysis by Emily MacDonald Korth, has been believed to depict Button Gwinnett, one of the three Georgia signers of the Declaration of Independence. This identification was not certain, and the inscription on the reverse identifying the artist and sitter, was suspect. Moreover, it appeared to be written in two different hands. The inscription is visible through a cut-out window in the lining fabric left by an old restorer. Gwinnett had a short-lived political career before dying in a duel the year after signing the momentous document. Recently, a signature of his came to auction and fetched over $700,000 in its sale, reaching an all-time high price for a signatory of the Declaration of Independence. This event brought this historic figure some current-day notoriety, captured by Stephen Colbert on the Late Show last year, which coincidentally appeared during the treatment and research of the portrait. Colbert and Hamilton creator and star Lin-Manuel Miranda performed “Button!” on the Late Show after an interview with Miranda. The “Button!” rap-style performance in costume is a spoof off Hamilton, and it is hilarious. You can view it at https://www.youtube.com/watch?v=uhFeQSBZUSk. It is definitely worth a watch! I have never experienced such a hearty laugh during an AIC presentation.

 One of the goals in the analysis, research, and treatment of this portrait was to help determine whether the picture likely did in fact depict Mr. Gwinnett. The painting was covered in old varnish and different campaigns of overpaint, making it difficult to compare the likeness with a known, earlier portrait of Gwinnett by British artist Nathaniel Hone (see image at left). The painting in ArtCare’s studio was attributed to Jeremiah Theus, a Swiss-born portrait painter who

worked primarily in and around Charleston, SC. Charleston was known as Charles Town until 1783. This fact creates one of the problems with the inscription, which identifies the city as Charleston, postdating the date of the portrait, which would have been before Theus’ death in 1774. Another issue with the inscription(s) was the presence of modern pigments, identified through analysis, that were part of a red layer on the canvas reverse that lies beneath the inscription(s). Zinc was identified in that layer, thus discrediting the coating as well as the overlying inscription as original to the piece. It is possible that the two inscriptions were written at some point(s) in the past, perhaps early in the life of the painting, but were later reinforced by a restorer.

Scientific analysis was conducted using a variety of techniques including cross-sectional analysis, XRF, PLM or polarized light microscopy, and optical microscopy. The results revealed typical pigments used by mid-18th c. American painters along with modern pigments appearing in overpaint and coatings. Elemental analysis helped identify the pigments vermilion, a lead-based pigment, a chromium-based pigment, and zinc white on the painting, while on the verso, the presence of lead, calcium, and copper were detected, and vermilion and zinc white were identified. Part of the historical research involved looking at archival information about the Theus portrait. One such document was created when Sheldon Keck was asked to examine the portrait in the 1950s. At this time, Keck declared the portrait a “genuine eighteenth century painting.”

Once cleaned the painting was compared with the Hone portrait of Gwinnett and similarities in facial features were noted. Levinson toyed with an online program to attempt to visually age the face in the Hone picture. This rudimentary program, while somewhat amusing, was not revealing. A chance connection with someone from the Georgia Bureau of investigation led to a visual comparison by the Bureau whereby they did a much higher tech, digital rendering of the earlier Hone portrait to artifically age the figure’s face, and they made a comparison with the treated picture. They determined it was plausible that the sitters were the same man.

I wish there had been a bit more discussion on the artist attribution question. Even though the focus was not on the artist, I had hoped for a bit more information on the portrait’s attribution to Jeremiah Theus, particularly since I encounter Jeremiah Theus portraits in my private practice. I would have liked to know more about the connoisseurship used in the attribution, whether/which art historians may have looked at the portrait, and/or whether any of the technical analysis was compared to that of other known Theus portraits. Finally, I also would have enjoyed more discussion of the treatment, as it was somewhat glossed over. A few before and after shots side by side, including details of areas of heavy overpaint before and after with a little more discussion of the overpaint removal, would have been welcome additions to this presentation.

Jobs, Internships & Fellowships Digest: June 6, 2017

  1. Conservator, City of Vancouver Archives
  2. Apprentice Bookbinder, Royal Collection Trust
  3. Conservator (Archival), Royal BC Museum Corporation
  4. Special Collections Conservator, University of Notre Dame
  5. 2018 Smithsonian Post-Graduate Paintings Conservation Fellowship, NMAAHC and MCI
  6. Internship In Book and/or Paper Conservation, University College Cork Library and Mucros Bookbindery at Muckross House
  7. Project Conservator, Museum of Science and Industry
  8. Assistant Objects Conservator, The Menil Collection
  9. Digital Games Curator, The Strong National Museum of Play

1. CONSERVATOR, City of Vancouver Archives (Vancouver, BC, Canada)

  • Application closes: June 9, 2017
  • Requisition ID: 3423
  • Business Unit/Department: City Clerk’s Office (1060)
  • Affiliation: CUPE 15 Non Pks
  • Employment Type: Temporary Full Time
  • Position Start Date: July 2017
  • Position End Date: July 2018
  • Salary Information: Pay Grade GR-023: $33.62 to $39.69 per hour

 The City of Vancouver is striving to become the greenest city in the world by 2020 and we are proud to be one of BC’s Top Employers, Canada’s Best Diversity Employers, and one of Canada’s Greenest Employers. With employees that have helped Vancouver consistently rank as one of the world’s most livable cities, the City values a diverse workforce which represents the vibrant community we so proudly serve.

Consider joining our committed team of staff and being part of an innovative, inclusive and rewarding workplace.

Main Purpose & Function: The City of Vancouver Archives, a unit within the City Clerk’s Department, has a temporary one-year vacancy for a Conservator. Reporting to the City Archivist, this position is responsible for preservation work for a multi-year holdings inventory and rehousing project. This project involves a variety of media types.

Specific Duties & Responsibilities: Specific duties include assessing rehousing requirements for archival records; creating custom containers, where necessary, for rehousing; rehousing the records; rehousing and tracking records for frozen storage. Duties may include some conservation treatment work. The position works independently and in project teams as lead or participant with archivists and Digital Conservator and assists the scheduling and prioritizing of work. Most tasks are performed in a laboratory setting.

Qualifications:

  • Master’s degree in art conservation or equivalent combination of training and experience
  • Experience working with archival materials an asset
  • Extensive working knowledge of the theory, standards, methods, and techniques used in the preservation, conservation, and restoration of archival materials
  • Extensive working knowledge of the factors which cause and mitigate the deterioration of archival materials in all formats
  • Thorough knowledge of the principles of chemistry, bacteriology, physics, and laboratory techniques as they apply to conservation
  • Working knowledge of photography and microforms
  • Knowledge of equipment and specialized supplies used in conservation
  • Ability to recognize and assess damage, deterioration, and related problems with archival materials.
  • Ability to perform scientific tests used to determine conditions of holdings and suitable treatments.
  • Ability to perform a broad range of restorative and conservation treatments and repairs
  • Effective interpersonal, oral communication, writing, project management and team skills are essential
  • Ability to balance independent work with teamwork and cooperation
  • Proficiency in office systems software, especially end-user, databases is required
  • Ability to lift items up to 40 lbs from shelves up to 7.5 feet high

We thank all applicants for their interest. However, only those selected for an interview will be contacted. Learn more about our commitment to diversity and inclusion, visit: http://jobs.vancouver.ca/content/community-impact/?locale=en_US.

Apply here: https://jobs.vancouver.ca/job/Vancouver-Conservator-Brit/409975300/.

2. APPRENTICE BOOKBINDER, Royal Collection Trust (Windsor, UK)

  • Vacancy closing date:June 18, 2017 at 23:55 hours BST
  • Based in the Royal Bindery, Windsor Castle
  • GBP16,477.50 per annum plus benefits
  • Two-year fixed-term with potential for extension to a total of five years
  • The position is open to applicants who have the right to work in the UK.

Developing new skills to help preserve a traditional craft
Learning and contributing at the same time, and the satisfaction of caring for one of the world’s largest art collections, are what make an apprenticeship with Royal Collection Trust so different.

The Royal Library and Royal Archives hold a substantial collection of books, manuscripts and archives of international significance.

The book conservation-restoration team works to preserve this important collection as well as create new bindings for the Royal Household, maintaining the very highest standards of bookbinding craftsmanship.

Joining us for an apprenticeship means you will learn from the best. Our two-year foundation-level training program will equip you with a good understanding of the practical and commercial aspects of bookbinding.

You will gain hands-on experience in a range of traditional hand bookbinding activities, including creating new bindings and boxes, assisting with the conservation and restoration of books and supporting the overall administration of the Royal Bindery. In addition, you will undertake work placements in external commercial binderies.

Undertaking project work, you will be able to support and track your progress through written reports and visual presentations.

You will also develop valuable business and IT skills, and obtain City & Guilds qualifications.

You will gain experience in a highly-skilled profession and craft: by helping to care for items from the Royal Library and Royal Archives, you will develop skills that will launch your career in this field.

After successfully completing the two-year foundation apprenticeship, you will have the option to continue your training with our advanced-level program over a further three years.

About you:

  1. Educated to GCSE Grade C or above (or equivalent) in English, Mathematics and Science, you enjoy practical work and are eager to develop new skills.
  2. With a keen eye for detail, you are confident in handling objects with care. You are also able to motivate yourself and maintain concentration, completing tasks to a high standard.
  3. A good communicator, you will enjoy working effectively as part of a team and you will be keen to receive guidance and feedback, learning from those around you.
  4. You do not need to have bookbinding experience but you must enjoy creative work and you will be keen to immerse yourself in the unique training opportunities that the Collection presents.
  5. Above all, your positive approach to work means that you will tackle every challenge with enthusiasm, making the most of the experience.

This is a fantastic opportunity to play a part in maintaining the future of an historic craft.

Assessment workshops and interviews will be held during July 2017 with a view to taking up post in early October 2017.

For further information, please visit: https://www.royalcollection.org.uk/about/working-for-us#/.

Email enquiries to royallibrary@royalcollection.org.uk.

3. CONSERVATOR (ARCHIVAL), Royal BC Museum Corporation (Victoria, BC, Canada)

  • Application deadline: June 18, 2017 at 11:59 p.m.
  • Heritage Resource Officer Grid 21
  • Annual: $55,422.02 Bi-weekly: $2,124.32

The Royal BC Museum Corporation is a dynamic, intellectually stimulating and challenging environment. As the public trustee of the Provincial collections and exhibits, we preserve and expand our collections, further the work of our renowned curators, archivists, conservators, and collection managers and inspire the people of BC and visitors from all corners of the world. We are looking for someone to join our conservation team as a Conservator, with a focus on paper and photographic conservation.

Under the direction of the Head of Collections, Care & Conservation, the Conservators preserve the Museum’s collections by interpreting, evaluating and recording the condition, physical security, and environmental conditions of collections in storage, on exhibit, and on loan; to plan and perform conservation treatments for individual objects, communicate principles of preventative conservation, research and treatments to the general public and various groups.

The role would ideally suit an individual with two or more years of work experience in an archives conservation lab, museum or art gallery along with experience with digital documentation including photography. Expertise in the use of environmental monitoring equipment is required. This experience is complimented by a Bachelor degree plus two years’ graduate level paper and photograph conservation training (or equivalent). You have comprehensive knowledge of current conservation theory, methods and ethics along with working knowledge of archival practice and/or museology including museum integrated pest management.

As the ideal candidate, you will have demonstrated your ability to manage a well-equipped conservation laboratory while providing training and direction to others in support of a vibrant group of volunteers and students at all levels. You have strong research, writing and presentation skills as well as excellent time management. As a member of a team, you work well with others while creating a standard of excellence. In your role of providing a service, you demonstrate tact, diplomacy and discretion.

This position requires Criminal Records Checks under the BC Public Service Screening Policy and the Criminal Records Review Act and all applicants must be legally entitled to work in Canada.

We are accepting applications for this opportunity until 11:59 p.m. on June 18, 2017. Please refer to the job description and selection criteria to ensure your application addresses the areas we will be looking at when assessing an applicant’s suitability for this opportunity.

Please apply to the Human Resources branch quoting Competition RB2017:11, via email to: humanresources@royalbcmuseum.bc.ca.

4. SPECIAL COLLECTIONS CONSERVATOR, University of Notre Dame (Notre Dame, IN, USA)

  • Application deadline: June 19, 2017 at 11:59 p.m. Eastern Time (GMT-4 hours)

The Hesburgh Libraries, University of Notre Dame, welcomes applications and nominations for the position of Special Collections Conservator. The posting has been extended to June 19, 2017.

As part of a growing team, the Special Collections Conservator stabilizes and preserves rare and unique library and archival collections in support of the Hesburgh Libraries active teaching, research, digitization, and exhibition programs. This work principally involves the design and execution of specialized treatments to stabilize individual items and collections of items. Positioned within the Specialized Collection Services Program, the Special Collections Conservator works as part of the Conservation and Analog Preservation Unit under the direction of the Unit Head, in support of the departments of Rare Books and Special Collections, University Archives, and Digitization.

This position posting and application instructions can be found on the Interfolio website: http://apply.interfolio.com/41222.

5. 2018 SMITHSONIAN POST-GRADUATE PAINTINGS CONSERVATION FELLOWSHIP, NMAAHC and MCI (Washington, DC and Suitland, MD, USA)

  • Application deadline: June 23, 2017

The National Museum of African American History and Culture (NMAAHC) of the Smithsonian Institution in Washington, DC is now accepting applications for a one-year post-graduate fellowship in paintings conservation beginning in late Summer 2017.

The conservation fellow will be part of an exciting opportunity for conserving paintings for NMAAHC with the Museum Conservation Institute (MCI). This fellowship provides an opportunity for a recent graduate to gain experience through study of paintings conservation, including preventive care for artworks in storage and on exhibit at NMAAHC’s Visual Art Gallery and conservation analysis and treatment in the studios of MCI.

The fellow will be advised by the NMAAHC Head of Collections and the MCI Senior Paintings Conservator. During this experience, the fellow will have an opportunity pursue independent study related to paint analysis, preventive conservation, and treatment of diverse mixed media and single media paintings. In addition, this opportunity will afford a fellow the opportunity to conduct research related to the conservation of modern and contemporary paintings. To defray living costs during the tenure of this one-year fellowship, fellows will be offered a stipend of $40,000 plus a health insurance allowance not to exceed $7,000.

Applicants should be a recent graduate of a recognized master’s level conservation training program with knowledge and understanding of conservation principles and practices; conservation challenges of modern and contemporary paintings and the importance of preventive care; organic chemistry and its application in paint adhesion, cleaning and identification; paint aging and deterioration; painting structure and processes; and painting framing, hanging and handling. To make the most of this opportunity, applicants should have the ability to make critical decisions in performing conservation tasks as demonstrated by a portfolio. Oral, written, and interpersonal communication skills and computer and graphic skills are recommended.

Applications for this opportunity are being accepted through the Smithsonian Online Academic Appointment (SOLAA) system through June 23, 2017.

Please address all inquiries to Dr. Renee S. Anderson, Head of Collections at andersonrs@si.edu, or Jia-sun Tsang, Senior Paintings Conservator, tsangj@si.edu, Tel: (301) 238-1231.

6. INTERNSHIP IN BOOK AND/OR PAPER CONSERVATION, University College Cork Library and Mucros Bookbindery at Muckross House (Cork and Killarney, Ireland)

  • Closing date for applications: June 30, 2017 by 5:00 p.m.
  • Contract type: Fixed Term Whole-Time
  • Salary: GBP26,500 per annum

To Apply: Informal enquiries can be made in confidence to Mr. Cronan O’Doibhlin, Head of Research Collections, Communications and Collection Services via e-mail to: c.odoibhlin@ucc.ie.

Completed application forms must be returned to Ms. Grace McGlynn via e-mail to grace.mcglynn@ucc.ie by 5:00 p.m. on Friday, June 30, 2017.

University College Cork (UCC) Library is very pleased to partner with Muckross House, Killarney in offering a funded conservation internship for recent graduates of conservation courses. We are pleased to offer a twelve-month internship in book and/or paper conservation. This internship offers the possibility of professional workplace experience with University College Cork (UCC), a prestigious academic institution, and Muckross House, Ireland’s oldest National Park where Mucros Bindery is located. The internship will be primarily located at the Mucros Bindery studio, working on UCC collections.

For further information, and to download the application form see: https://www.ucc.ie/en/hr/vacancies/administrative/full-details-764801-en.html.

7. PROJECT CONSERVATOR, Museum of Science and Industry (Manchester, UK)

  • Reports to: Conservation & Collections Care Manager
  • Type: Fixed-Term
  • Salary: Up to GBP22,000 pa, dependent on experience
  • Hours: 36.25 per week

Working within our Conservation and Collections Care Team, this role is part of a 5-month project to reorganize a storage area on-site. Your role will be to preserve the objects and safeguard our collections during this process. Using best professional practice, you will ensure we meet strategic and statutory requirements within our budget constraints.

You will lead on the preventative conservation areas of packing and protecting objects in store, dust, vibration and environmental monitoring elements. You will also undertake all aspects of interventive objects conservation on a wide range of materials, including condition checking, assessing, and documentation.

This is a fixed term contract for 5 months.

What you will be doing:

  • Improve storage areas where required to preserve the collection.
  • Prepare condition and treatment reports with annotated images for items conserved and input this information into MIMSY XG database.
  • Prepare condition and storage recommendation reports.
  • Participate in safe management and awareness of hazards within the collections; complying with current Health and Safety regulations, in-house policies and safe working practices in the Conservation lab and object stores.
  • Plan and execute your own program of priorities outlined in the project on time and to budget, complying with best professional practice and statutory requirements.
  • Undertake remedial conservation of objects within the collection to a high professional standard.
  • Manage all elements of environmental monitoring, report back and act to improve conditions where necessary.
  • Assist in the general administration of the CCC team, to ensure that this is done in an environmentally sound and economical manner.
  • Taking care of your personal health and safety and that of others. Complying with the Science Museum Group H&S Policies, risk assessments and safe systems of work and reporting any health and safety concerns.
  • Undertaking any other tasks required to fulfil the duties of this role.

For more information and to apply, please visit https://group.sciencemuseum.org.uk/careers/.

8. ASSISTANT OBJECTS CONSERVATOR, The Menil Collection (Houston, TX, USA)

The Menil Collection is seeking a full-time Assistant Objects Conservator to undertake treatments and research related to the preservation of objects in the museum’s care. The Assistant Objects Conservator will participate in museum-wide preservation activities including treatment; preparations for exhibition and loan; environmental monitoring; gallery maintenance; courier travel; technical research; supervision of departmental volunteers and interns; and routine lab maintenance.

A Master’s degree from a recognized art conservation program with a specialization in objects is required, along with substantial practical experience and the ability to develop and undertake innovative treatments. While a broad knowledge of traditional materials and techniques is expected, a demonstrable interest in the treatment of modern and contemporary art, in particular outdoor sculpture, is preferred. The successful candidate will be an effective verbal and written communicator. Strong interpersonal and organizational skills, and the ability to prioritize and work independently are essential. The Assistant Objects Conservator will report to the Chief Conservator and will regularly work in concert with the Associate Objects Conservator, Research Scientist, Conservation Imaging Specialist, and other museum staff and outside contractors.

The successful candidate will join a team of five full-time conservators, a shared research scientist, a conservation imaging specialist, and four support staff. Integrated within the iconic Renzo Piano-designed Menil Collection, the conservation facilities comprise both shared and dedicated studios for the conservation of paintings, objects, and works of art on paper, as well as analysis and imaging. Since its founding in 1987, the Menil Collection Conservation Department has distinguished itself through the publication of innovative treatments and materials research. Of particular note is the department’s ongoing commitment to working with living artists, including the establishment of The Artists Documentation Program (ADP), which interviews artists and their close associates in order to gain a better understanding of their materials, working techniques, and intent for conservation of their works.

Considered one of the most important privately assembled collections of the twentieth century, the Menil Collection houses approximately 17,000 paintings, sculptures, and prints, drawings, photographs, and rare books. Masterpieces from antiquity, Byzantium and the medieval period, the cultures of Africa, Oceania, and the American Pacific Northwest, and the twentieth century, including significant surrealist holdings, are particularly well represented.

Salary and benefits are competitive and commensurate with experience. Please send a curriculum vitae, contact information for three professional references, and a letter of intent to: Human Resources, The Menil Collection, 1511 Branard Street, Houston, Texas 77006 or fax it to (713) 525-9476. Application materials may also be emailed to smmaloch@menil.org.

EOE

9. DIGITAL GAMES CURATOR, The Strong National Museum of Play (Rochester, NY, USA)

The Strong has an opening for a Digital Games Curator to lead its technical efforts to preserve a wide variety of digital content created for games and other electronic playthings. As a member of the International Center for the History of Electronic Games team, the Digital Curator will need very high levels of technical expertise in the preservation of digital content across a wide range of media, be effective at communicating ideas to colleagues and the general public in writing and verbally, and work well with others in The Strong’s team-based, boundary-less organization. The Digital Curator will also serve on exhibit teams, write regular blogs, and represent the museum’s expertise to the public and the media.

Duties and Responsibilities:

  • Directs the Strong’s efforts to preserve digital materials related to the collections of the museum’s International Center for the History of Electronic Games, using and developing an evolving variety of technical approaches.
  • Works collaboratively with, and support the efforts of, other teams at The Strong, especially the exhibits, collections, information technology, and institutional advancement teams. The Curator will work closely with the museum’s Director of Conservation and Arcade Conservation Technician.
  • Catalogs digital objects in the museum’s database systems.
  • Contributes to the development of onsite and online exhibits.
  • Maintains an active presence among communities engaged in the areas of game preservation and game history, which will at times involve domestic and international travel.
  • Locates, identifies, and recommends objects for acquisition through gift and purchase. Also recommends objects for possible deaccession.
  • Catalogs new acquisitions as well as objects already in the collection
  • Researches collections and keeps abreast of current developments in the museum field and specific subject’s areas through conferences, courses, reading, travel, and participation in professional organizations.
  • Participates, as required, on exhibit development teams.
  • Responds to public and professional requests for information and assistance, as well as media requests as appropriate in conjunction with the public relations staff. Participates in interpreting the collection to the visiting public, to visiting scholars, and to professional museum personnel.
  • Provides teaching services in cooperation with other teams and acts as advisor to students and interns. Facilitates training of interns and curatorial volunteers, and coordinates their tasks as required.

Qualifications:

  • Advanced degree in computer science, library and information sciences, history, or another related field.
  • Strong technical knowledge and ability in methods of digital preservation in order to solve preservation challenges presented by media that range from cassette tapes and floppy disks to modern cloud-based, server-based games.
  • Must be a problem solver, flexible thinker, and a goal-oriented, self-starter who is passionate about advancing The Strong’s mission of preserving the history of play.
  • Solid understanding of the history and importance of video games and the game industry.
  • Proven ability and interest in working in both a collaborative, team environment as well as individually.
  • Ability to multi-task and manage multiple projects of varying priorities simultaneously.
  • Excellent written and verbal communication skills.
  • Foreign language skills, especially Japanese or Chinese, are desirable but not required.

Successful candidates must consent to and pass a drug screen and criminal background check as conditions of employment.
To apply online, visit: https://www.infinityhr.com/extranet/JobSearch.aspx?id=64723&aid=10927.

The Strong is a smoke-free campus and smoking is not allowed on museum property.

45th Annual Meeting – Book & Paper Session, May 30, “Line up, Back to Back: Restoration of Korean Buddhist Sutra in accordion book format” by Hsin-Chen Tsai and Tanya Uyeda

This dynamic and thorough talk focused on the Dirghagama Sutra, a ten-leaf accordion format Korean Buddhist sutra dating from the 14th century, treated by the authors in the Asian Conservation Lab at the MFA Boston. Often produced by the ruling classes as a form of prayer for family members, a sutra typically consists of front and back covers decorated with lotus flowers and other Buddhist symbols, a frontispiece, a main body of text, and a dedication specifying the purpose, donor, and date of the sutra. The support is usually brush- or vat-dyed indigo paper, and the media gold and/or silver pigment. Today many sutra covers have lost their silver pigment and retain only the gold. The sutra’s accordion consists of lined sheets of paper joined together at the folds, with joins typically present at approximately every fifth leaf.

To better understand the history and manufacture of the sutra, the authors examined four other Buddhist sutras from the same time period and consulted with a modern-day sutra artist about his extensive experience studying and copying sutras. They learned that the paper is sized with animal glue, then burnished until it is shiny, smooth, and slightly water-resistant; sheets of paper are then layered and joined together to create the accordion. After the pigment is applied with animal glue, the surface is burnished with a bone folder. To achieve the desired results, climate in the studio must be carefully monitored and controlled.

Upon receipt, the Dirghagama Sutra had many condition issues. The surface was abraded, and showed yellow and white accretions. Portions of the paper layers were lifting and misaligned, and there were losses and previous tape repairs. The structure of the Dirghagama Sutra appeared different from the others the authors had examined, as it did not have readily visible seams in the accordion. After very close examination, they discovered two main segments of different lengths, each constructed of several layers of paper overlapping at the seventh leaf. Before beginning treatment, they diagrammed this structure and drew a condition map documenting the sutra’s many condition issues.

To begin treatment, they surface cleaned the paper with a brush, a vacuum, and erasers. Preliminary stabilization was performed on the tears with 1% methylcellulose gel. The front and back covers were released from the text mechanically with a bamboo spatula. The tape carrier was removed with a heated spatula, and the adhesive reduced with a crepe square and a kneaded eraser. To further reduce the tacky adhesive, which analysis showed was rubber-based, the authors experimented with low-polarity solvents. Though toluene was the most effective, they opted to mix it with acetone to give themselves more control while working and ultimately settled on a 1:2 toluene:acetone solution applied over a suction platen.

To fully stabilize the sutra, it was necessary to disassemble the segments and to add new lining layers. Concerned about dimensional changes that might result from exposure to moisture and drying, the authors made templates to record the original sizes of the paper and used the templates along with controlled applications of moisture to manipulate the sizes of the various pieces and to ensure that the folds would align properly when the object was re-assembled. The templates were also useful in determining the size and placement of the fill for a large loss between the eighth and ninth leaves. Though the various pieces of the sutra reacted to moisture differently, they found that once an overall lining was applied rates of expansion and contraction became more uniform. This, along with the use of templates and the carefully controlled exposure to moisture, were the main factors to which the authors attribute the success of the treatment.

45th Annual Meeting – Textiles Session, May 31, “A Treatment Returns Undone” by Nancy Love

This talk told the true story of what seems like a nightmarish scenario: an object treated 15 years ago finds its way back to the conservator in as bad (or worse) condition than ever.  Nancy Love shared this stunning tale of object stewardship gone awry, which covered not only her approach(es) to treating a Native American feathered headdress treasured as a family heirloom, but also offered a chance to reflect on how the conservator and conservation has changed in the 15 years between the first and second treatments.

The first treatment (in 2001) was documented in black and white photos and color slides.  The headdress underwent cleaning, loose elements were stabilized, and it was delivered on a custom-made mount to both support and store the headdress.

The second treatment (in 2016) was documented in digital color photos, which witnessed the object’s return with only part of its storage mount, dirty again, and with many of the rawhide attachment points joining feathers to base broken and damaged.  For the second treatment, Love tried a different approach to attach the feathers to the headdress, but ultimately found that more closely following the original technique provided a better outcome.  In her discussion of the treatment and during the question and answer time afterwards, Love reflected on her willingness to attempt a slightly more interventive approach as an older and more experienced conservator and the importance of trusting an object to “tell” its caretakers what it needs.  It was encouraging to hear the second treatment had a considerably higher final pricetag (reflecting the increased prices conservators in private practice can command) and that the object was returned to owners with a renewed awareness of what it takes to care for cherished objects.

45th Annual Meeting – Textiles Session, May 31, “A Worthwhile Endeavor: The Conservation of a Woth and Bobergh Ensemble” by Johanna Tower

Johanna shared her experiences treating an ensemble labeled Worth & Bobergh at the Museum of Fine Art, Boston.  The ensemble includes a skirt, day bodice, and evening bodice of silk faille and dates to about 1870.  The petersham label inside the day bodice identifying it “Worth & Bobergh” means it dates from Worth’s early years when his investor (Bobergh) was included in his labels.  In spite of its unique history, the ensemble had been the victim of some “refashioning” to update it for later fashions or possibly to make it into “fancy dress.”  The alterations included sewing the evening bodice to the skirt, adding panels to the sides to extend the bodice, and stitching the skirt up so that it would no longer accommodate the crinoline and bustle combination of its original fashionable design.

Johanna’s complicated treatment called upon a mix of both skills and techniques that covered the gamut between precise and delicate to practical and bold (but well-researched and justified) choices.   While firmly rooted in “conservatorial” thinking and using some familiar techniques, the treatment ranged beyond the conventional to draw upon newer techniques such as digital printing of fabrics to recreate the patterned silk of the underskirt and Johanna’s knowledge of dress-making to prepare a half-size model of the to-be-reworked skirt and to recreate the waistband and original cartridge pleats.  Dyed-to-match fabrics were used not only for treatment of the solid purple, but also for the patterned fabric.  Johanna dyed the silk first, before delivering it the digital printer, who then only had to match the printed pattern, which avoided the “over crisp” and new look of some digitally-printed fabric infills.  The treatment ultimately represented a thoughtful and nuanced blending of old and new, dressmaker and conservator, that breathed new life into an object that Johanna described before treatment as “not the most beautiful” of the MFA Boston’s Worth examples, making the treatment “A Worthwhile Endeavor” indeed.

AIC Board of Directors’ Statement of Solidarity with the Smithsonian Institution

We would like to share the following message from the AIC Board of Directors:

“The American Institute for the Conservation of Historic and Artistic Works decries recent actions that impede the preservation of cultural heritage. The deliberate placement, on two separate occasions, of a noxious symbol of intolerance – a noose – in the galleries of the Smithsonian National Museum of African American History and Culture and on the property of the Hirshhorn Museum and Sculpture Garden interferes with their mission to celebrate and preserve cultural collections. These repugnant acts denigrate the work of our valued conservation colleagues, disrupt the visitor experience, and intimidate potentially new and broader audiences. We believe that the creative achievements and histories of all peoples must be acknowledged and honored through access, interpretation, and preservation. We urge everyone who cares for our cultural heritage to actively support the Smithsonian’s exhibitions and programs.”

To learn more about the events of last week, you can find an article from Smithsonian Magazine here.

If you would like to share this statement, you can also find it here in PDF format.

45th Annual Meeting – Paintings Specialty Group, May 31st, “The Monopoli Altarpiece: Rediscovery and recovery of a Cretan-Venetian masterpiece,” by Caitlin Breare

Caitlin Breare’s excellent talk on the Monopoli Altarpiece, a seven-panel polyptych in the collection of the Museum of Fine Arts, Boston, was part of a morning of presentations focused on challenges encountered during treatment of painted wood. The fifteenth-century altarpiece originated from the city of Monopoli in southern Italy, but – as became clear during Caitlin’s presentation – it represents an amalgamation of styles. This city was on a trade route between northern Italy and the Mediterranean Sea, and both Venetian and Cretan painting clearly influenced the aesthetic. The altarpiece’s format and use of European poplar for the support is consistent with Italian construction, suggesting that a Venetian workshop may be responsible, while the painting materials and style are consistent with Cretan technique.

The treatment and research of this work, which had previously been deemed unexhibitable, was begun in 2015. Technical analysis revealed a great deal about the altarpiece’s materials and artist’s technique. Caitlin compared the work’s Cretan aesthetic to the Byzantine style with relation to the elongated figures and gilded background. The original gilding consists of burnished water gilding over a yellow ochre preparatory layer. While a yellow bole might be considered unusual in other contexts, this was a common material for gilders in Crete to employ. The use of a mixture of umber, black, vermilion, and white as a base tone for the flesh was also standard practice for Cretan painters.

Infrared reflectography showed that the underdrawing between the seven panels is consistent. Meanwhile, examination of the X-radiograph indicated the presence of scored lines under the paint in each panel, presumably to give texture to the wood before application of the gesso. Such scoring has been observed in the works of other Cretan painters. Examination of tool marks resulted in an exciting discovery: from the way the tool marks match up, the two panels with the saints directly on either side of Virgin seem to have been switched at some point in the past. Reconfiguring the panels also makes more sense compositionally, as the saints’ postures now direct the viewer’s eye towards the Virgin.

Restoration consisting of oil gilding was easily distinguishable from the original water gilding and was removed in the course of treatment. Treatment also involved grime removal and the reduction of a discolored, locally applied coating, probably consisting of drying oil; fortuitously, the coating appears to have protected the paint in some areas.

The greatest challenge encountered during treatment was the presence of calcium oxalate on the paint surface. The formation mechanism of this highly-insoluble brown layer is unknown, although Caitlin postulated that perhaps it may be linked to a coating applied over azurite. Another hypothesis is that fungus may be the source. In any case, chelators and mechanical removal were used to reduce the layer as much as possible. Now that the work has been cleaned, George Bisacca will be completing the structural treatment of the panels in the near future, and the altarpiece will be returned to the MFA for compensation.

For more on the altarpiece’s examination and conservation, there is a detailed summary on the MFA’s website: Conservation in Action: Monopoli Altarpiece. Although the language in the text is directed towards the general public, the post includes great images and time lapse videos of the treatment.

Study of the calcium oxalate layer and methods for its removal were prominent focuses of this treatment, and Caitlin hinted during the question and answer session that she will be looking further into medical techniques that reduce kidney stones as a potential solution for the removal of this type of layer. I look forward to seeing how Caitlin’s research progresses!

45th Annual Meeting – Paintings Specialty Group jointly with Research and Technical Studies, May 30th, “Re-examining Old Findings and Inferences: The Study of a Magus at a Table by Jan Lievens,” by Shan Kuang

This presentation by Shan Kuang focused on the technical analysis and reattribution of Magus at a Table from Upton House, National Trust.

Multiple versions of this composition exist, variously attributed to Rembrandt, circle of Rembrandt, Lievens, copy after Lievens, and so on. The attribution of this particular work has long been contested. The painting was listed as an original Rembrandt, then reattributed as a “copy after Lievens” after a 1983 examination. Dendrochronological analysis conducted at that time indicated that the tree from which the panel was fashioned was felled after 1660. Additionally, samples were taken and examined in cross section, and the results of this analysis seemed inconsistent with the painters’ techniques.

New scholarship on Lievens provided the impetus to reexamine the attribution, and the work was sent to the Hamilton Kerr Institute for treatment and study in 2014. At this time, dendrochronology specialist Ian Tyres revisited the prior dating, questioning the methodology used and ultimately rejecting the 1660 date. This once again opened up the possibility that Rembrandt or Lievens had a hand in the painting.

New imaging technologies showed that an initial sketch had been revised significantly in the final composition and that the color of the table had been revised. Furthermore, macro X-ray fluorescence scanning revealed pentimenti that had been previously undetected by X-radiography. An arc of foliage that had been painted out by the artist was particularly notable. These changes indicate the likelihood that the painting is an original artwork rather than a copy. Additionally, such extensive reworking is fairly common for Lievens.

Previous analysis of the cross sections from the painting had concluded that copper green was present, which was used as evidence against attributing the painting to either Lievens or Rembrandt. However, re-examination of the cross sections indicated that the element copper actually corresponds to blue particles and that a mixed green is present, which is in line with the practices of both artists.

In light of this new information, the painting was reattributed to Lievens based on stylistic grounds and consistency of materials and technique. Shan presented this research logically and effectively, and the analysis of this painting provides an impressive case study of how re-examination of paintings – utilizing new research and improved technologies – can lead to exciting discoveries and contribute to our understanding.

Could a novel ever feature a serious, underpaid middle-aged conservator?

Having just finished reading “The Hound in the Left-hand Corner”, by Giles Waterfield (Washington Square Press, 2002), a satire about an important day in the life of a British museum, I’m coming to the conclusion that museum novels are essentially the same book. They have odious museum directors, members of Boards of Trustees, and heads of security, as well as scheming curatorial and conservation staffs– none of whom resemble any museum employees I know. Could there ever be a museum novel featuring a conservator who is a serious, underpaid (for her level of knowledge and skills) middle-aged woman rather than an eccentric dandy or very young and glamorous girl?