Breaking up (with a Leonardo) is hard to do!

Dianne Dwyer Modestini, who conserved the “Salvator Mundi,” at work in her studio.

I must admit that I am always relieved when I finish up a project and get it back safely to a (hopefully) pleased owner.  But maybe that is because I have never worked on anything like a Leonardo!  Working on pieces of immense value and great cultural significance adds another dimension to a conservation treatment.

Read about conservator Dianne Dwyer Modestini’s experience conserving  “Salvator Mundi,” da Vinci’s newly rediscovered painting of Christ in the November 10, 2011 CNN article by Laura Allsop Living up to Leonardo: The terrifying task of restoring a da Vinci.

Beneath the Wrappings: Conservation of Emory’s Old Kingdom Mummy

In 1921, William Arthur Shelton, a professor in Emory’s Candler School of Theology, purchased an Old Kingdom mummy from the sacred site of Abydos in Middle Egypt. In storage at the Carlos Museum for over 90 years, its linen in tatters, its head in a separate box, and many bones missing or exposed, the mummy provided an extraordinary challenge for conservators Renee Stein and Mimi Leveque. This video documents their almost year-long treatment of the mummy in close consultation with curator Peter Lacovara, students and faculty at Emory University, doctors at Emory Hospital, and other consultants.

For more information, visit carlos.emory.edu

View the 16 minute video on Emory’s YouTube channel

 

 

 

 

 

 

 

 

 

 

 

 

AIC Collection Care Network Charge

The founding members of the Collections Care Network (CCN) are excited to announce the network has been approved by the AIC Board of Directors. Now we are beginning the work to create a voice for collections care, preventive conservation, and all of its practitioners. On January 31, founding committee members will meet to begin planning how to encourage and implement the ideas voiced in the Charge prepared for the CCN by the AIC Board of Directors and included in full below. We want to add your ideas and concerns to that discussion. Please post comments here on the blog or contact Rebecca Fifield at Rebecca.fifield@metmuseum.org , no later than January 30 with any ideas or issues you would like the committee members to consider at the Jan 31 meeting or in the coming months.

AIC Collection Care Network Charge

 Purpose

The AIC Collection Care Network (CCN) was created in recognition of “the critical importance of preventive conservation as the most effective means of promoting the long-term preservation of cultural property” (Guidelines for Practice of the American Institute for Conservation of Historic & Artistic Works, #20) and to support the growing number of conservators and collections care professionals with strong preventive responsibilities and interests.  Its purpose is to:

  • Create awareness of preventive care
  • Identify and develop standards and best practices, training, and other projects to advance preventive care in institutions of all types and sizes, locally, nationally, and globally
  • Provide resources to support collection care and conservation professionals
  • Work with related groups to reach and support key collections care constituents

The Collection Care Network is a Division of the American Institute for Conservation of Historic and Artistic Works (AIC) and is therefore bound by the Bylaws of the AIC and policies set by the AIC Board of Directors.  Any revisions to the CCN Charge require written approval by the AIC Board of Directors.

Composition

The initial officers of the CCN are chosen by the organizing committee, in staggered terms, and presented to the AIC Board of Directors for approval.  Thereafter, candidates for open positions are prepared by the CCN officers for approval by the AIC Board of Directors. All officers must be current members of AIC.  Officers include a chair, vice chair, secretary, treasurer, communications and outreach officer, editor, and chair emeritus.  Terms of office are three years with an option to serve a second term if other officers approve.   The Board liaison to the CCN is the Board Director for Committees & Task Forces; the staff liaison is the Membership Director.

Standing Charge

  • Create a network of collections and conservation professionals committed to the preventive care of collections. The network will support current AIC members and work to encourage non-member collections care professionals to become AIC members.
  • Advance the understanding that preventive care preserves our cultural heritage in a way that post-damage, interventive treatment cannot restore.
  • Advocate for professional recognition of all collections care professionals and support the development of the role they play in institutional preservation planning.
  • Encourage collections and conservation professionals to exchange preservation information, ideas, and research.
  • Provide preventive care programs and resources that will be of interest to the broad spectrum of constituents the CCN intends to serve.
  • Network with related collections and conservation organizations to better support shared goals.

Spit cleaning is a Dickens of a job!

When I was in London for the 2011 Pest Odyssey conference I picked up one of those free tabloid newspapers while riding on the Tube.  I was pleasantly surprised to find an article on conservation on page 3!  Apparently…

Charles Dickens clearly loved a bit of art and craft in his spare time.  The discover of a room dividng screen decoratedd by the great man, using 800 illustrations, was beyond the expectations of historians – who are now cleaning it with gel and saliva.

Read the October 25, 2011 by Hayden Smith in its entirety on the Metro website

 

160 years of varnish and dirt is lifted off by hand and... human saliva

 

High-Tech Art Sleuthing in the Harvard Magazine

Call them art detectives. Using scientific methods, the researchers at the Fogg Museum’s Straus Center for Conservation and Technical Studies gather evidence and help solve art mysteries: Who painted this? What materials did the artist use?

One such mystery involves the self-taught American artist James Castle. Profoundly deaf, perhaps autistic, he never learned to speak or write. He lived in rural Idaho, creating compelling, intimate works, including hundreds of drawings using only woodstove-soot mixed with his own saliva. He sketched with color as well, and assembled three-dimensional figures from bits of packaging. His work was still largely unknown outside Idaho when he died in 1977 at the age of 78.

Flash forward three decades. Conservators wanted to know where Castle obtained his pigments, what tools he used, and how he worked. Castle’s family had provided some clues, through artifacts and memories. For more precise information about certain pieces, Daniel Kirby, an associate in conservation science at the Straus Center who has a background in biotechnology, used an instrument common in biology but fairly new to art conservation: a laser-desorption-ionization time-of-flight mass spectrometer…

Read the full Harvard Magazine article online to learn more about Kirby’s results and the use of LDMS in conservation.

Saving Scrapbooks From the Scrapheap

This article by Eve M. Kahn was published on August 5, 2011 in the Antiques column in the Weekend Arts & Leisure section of  the New York Times that highlighted several scrapbook conservation projects funded by government grant agencies such as the Institute of Museum and Library Services and Save America’s Treasures.  Read the full article on the NYTimes website.

Woody Guthrie saved paperwork documenting his peripatetic life, from utility bills for New York apartments to fliers protesting shanty demolitions in Seattle and lyrics for folk songs performed at a Los Angeles radio station. He and his family put some of the artifacts in scrapbooks, but that did not fend off damage over the years.

The glues and album bindings weakened and failed. The page edges turned brittle and crumbled. Newspaper clippings yellowed and tore.

The Woody Guthrie Foundation and Archives, which the family helps run at a tiny office in Mount Kisco, N.Y., has long had to keep researchers away from the more fragile scrapbooks. “Anytime anyone looked through, I knew we would lose a portion of it,” said Tiffany Colannino, the collection’s archivist.

During the last year the staff has finally been granting access to the albums, thanks to preservation work undertaken with a grant of $80,000 from the federal Institute of Museum and Library Services. Among other things, the money allowed the Northeast Document Conservation Center in Andover, Mass., to box a half-dozen Guthrie scrapbooks in dove-gray cardboard and sheath the pages in clear polyester.

New labels on the covers explain the other treatments performed, with phrases like “nonaqueously alkalized” and “magnesium oxide particles in a perfluoro compound.”

Next year the albums may go on the road for celebrations of Guthrie’s centennial. “Now that everything’s conserved, it can be traveled and exhibited,” Ms. Colannino said. Digitized pages will be reproduced for new books, including one by the singer’s daughter Nora Guthrie for powerHouse Books about his years in New York.

Photos and clippings in the scrapbooks trace his wanderings in Greenwich Village, the Upper West Side and Coney Island, through three divorces and the births of five of his children, and his decline from Huntington’s disease at hospitals in Brooklyn and Queens.

The government has financed dozens of other scrapbook rescues in the past few years. The John F. Kennedy Presidential Library and Museum in Boston has received $150,000 from the federal Save America’s Treasures program to help preserve about 100 of Jacqueline Kennedy’s White House albums.

She kept memorabilia from interior restorations, dinner parties and the redesign of the Rose Garden. Fabric swatches and dried flowers are tucked between pages.

The library staff has not yet fully examined the deteriorating albums. Until the Northeast Document Conservation Center can stabilize them, “We don’t want to handle them,” said Karen Adler Abramson, the library’s chief archivist.

Save America’s Treasures has given $170,000 to Emory University’s Manuscript, Archives and Rare Book Library in Atlanta to conserve three dozen scrapbooks made by African-Americans. They commemorate the lives of freed slaves, sorority members and celebrities, including the author Alice Walker and the vaudeville star Flournoy Miller. The tightly packed mementos include military patches as well as pencils for signing girls’ dance cards.

When an item has fallen off and ended up shuffled around, members of the Emory staff study the glue stains on the back to see if any empty page in the book carries a matching ghostly outline. “It’s a map of where it went,” said Kim Norman, the library’s scrapbook conservator.

This year the government also financed conservation for a deteriorating 1930s album that Laszlo Moholy-Nagy helped design for the Illinois Institute of Technology in Chicago, and ephemera scrapbooks related to the Ball family (of Ball jar fame) at Minnetrista, a museum in Muncie, Ind.

In the Balls’ arrays of photos, clippings and invitations, “anything that was supposed to be attached is becoming unattached,” said Karen M. Vincent, Minnetrista’s director of collections.

One major underlying problem for conservators is that the scrapbooks in most cases were store-bought and mass-produced, with vulnerable flexing spines and acidic papers.

“They weren’t fancy books,” said Mary Patrick Bogan, the Northeast Center’s director of book conservation. “They were made for people to add to.”

Brooking Paper on Creativity in Museums

The Brooking competition recognizes innovative accomplishments that produce new ways of thinking and seeing within the museum field. Papers can describe examples of creativity in any aspect of museum operations, from collections, programs and exhibitions to finance, marketing and administration—or anything in between. If you can imagine your peers saying, “What a great idea—I’ve never heard of anybody doing that!” it’s a sign you’re headed in the right direction. Deadline: Feb. 1

A Dreamy Dram: Shackleton, whiskey and conservation on the South Pole

When I entered the field of conservation I hoped that the position would afford me the opportunity to travel for work.  My travel,  moving a couple of cities and the occasional courier or conference trip, has been gratifying but rather mundane.  Thus, I have marveled at the conservators who really seem to seize the amazing opportunities that our work sometimes affords and it has been a vicarious thrill to read the Antarctic Conservation blog posts of the conservators of the Antarctic Heritage Trust who are conserving 4 Antarctic explorers’ huts, including those used by Scott and Shackleton on their expeditions to Antarctica.  These conservators work throughout the year on the frozen continent, living in one of the most hostile environments on Earth.

Bottles of Shackleton's whisky at the Canterbury Museum in New Zealand, where they are being preserved in their paper wrapping and straw casing.

This project has also resulted in some interesting conservation issues.  If you are a whiskey lover then you will be particularly interested in the New York Times Magazine article of July 21, 2011 by Charles McGrath Spirits of the South Poll.  In February 2007 members of the preservation team came across three cases of Scotch frozen in the permafrost that were part of  Ernest Shackleton’s 1907 Nimrod expedition.  The Antarctic Heritage Trust, after much negotiation, allowed several bottles to be thawed out and brought to Scotland for study and analysis.   The article describes that the whiskey obsessed

likened the find to Howard Carter’s stumbling into the tomb of Tutanhkhamen.  Scotch this old is a great scarcity, but what kind of shape was it in?  Had it been preserved in the subzero cold – mummified, in effect – or had it gone bad, picking up notes of blubber, mildewed seal skin and dried penguin dung?

Read the rest the NYTimes article to find out!

Nora Kennedy 2011 HP Image Permanence Award recipient

Congratulations to Nora Kennedy, Sherman Fairchild Conservator of Photographs at the Metropolitan Museum of Art and the 2011 recipient of the HP Image Permanence Award. This award is given by the Society for Imaging Science and Technology (IS&T) in partnership with the International Institute for Conservation (IIC) and is sponsored by the Hewlett-Packard Company.

“Established in 2006, the HP Image Permanence Award recognizes advances in colorant and print media materials that significantly increase permanence; advances in predictive science that increase the validity of permanence predictions or provide insight into optimal storage and usage conditions; and/or educational efforts that raise awareness of the effect of storage and usage conditions on permanence.”

Nora is specifically being recognized for her outstanding contributions that advance the longevity of photographic and fine art images created via modern digital methods in the form of her co-leadership with Debbie in organizing the Mellon Collaborative Workshops in Photograph Conservation, the creation and distribution of digital sample book and for leading the creation of the Photograph Information Record (PIR). Since any single digital print process can change in behavior from generation to generation in only  a few years, the PIR is an important link between the object and the actual materials that produced it.  It’s the best tool that we have at the moment to prevent an information black hole in institutions that collect digital prints.

Nora’s willingness to engage contemporary artists in discussion regarding materials choices, exhibition and mounting (all related to preservation) as well as the general care of photographs including digital prints was also noted by the awards committee.

For more information about the award see http://www.imaging.org/ist/membership/honors_desc.cfm?AwardCode=HPIP

Posting courtesy of Doug Nishimura, Image Permanence Institute.

 

 

 

 

 

 

Preserving the history of conservators and conservation

Did you know that the upcoming AIC Annual Meeting will celebrate the 40th anniversary of AIC?  At such a milestone it is important to ensure that we are preserving our own history.  As part of the January AIC wiki Edit-A-Thon month we have launched a new section on the wiki to record information on the History of Conservation and Conservators.  This is just a start in developing a template for entries but we hope that people will be interested in adding information on colleagues who are no longer with us, their own practices and labs to record for posterity.  Thanks go out to AIC member Rebecca Rushfield for pushing this project forward.  If you are interested in participating or adding information on the wiki please use the Email AIC’s e-Editor contact form at the bottom of this blog page.

Information on other important contributors to our field is available in other areas as well. You can access information on the FAIC Oral History Project on the AIC website.

In other news, conservator Jean Portell is working on a biography of Sheldon and Carolyn Keck and is hoping to receive recollections and comments  from colleagues.  Take a look at the piece she wrote for the Brooklyn Daily Eagle  Heights Couple Who Made Art Shine Like New and to learn more about two of the field’s pioneers.