Conservation Journal The Quarterly Publication of the Victoria & Albert Museum Conservation Department

April1999 No 31 ISSN 0967-2273

Jonathan Ashley-Smith Editorial Alison Richmond Accreditation – What Do We Think? Susan Stronge The Arts of the Sikh Kingdoms Mike Wheeler The Arts of the Sikh Kingdoms- The Conservation Co-ordinator’s View Val Blyth The Indian Vase Carpet Fragment: Decisions and Discussions prior to Conservation Sophy Wills, Simon Metcalf Should a Conservation Treatment Reveal the Secret of Damascus Steel ? Nigel Bamforth Ranjit Singh: The Lion of the Punjab Science and Information Section Science Surgery Victoria Hobbs The Function of a “Fetish” Figure Lyndsey Morgan The Artificial Patination of Bronze Sculpture New Staff Conservation Department Staff Chart Conservation Journal Contents Editorial – Accreditation V&A Conservation Journal No 31 Jonathan Ashley-Smith Head of Conservation January 1999 3 Editorial - Accreditation Jonathan Ashley-Smith, Head of Conservation

4 Accreditation – What Do We Think? Alison Richmond, Course Tutor, RCA/V&A Joint Course in Conservation Towards the end of 1998 I was one In the part of my soul that reflects come, when somebody leaves, the 5 The Arts of the Sikh Kingdoms of a small group engaged in a my long involvement with elite label “worked at the V&A” is Susan Stronge, Curator of the Exhibition, Indian and South Eastern Collections prolonged debate on the subject Conservation, I automatically think likely to carry more weight than of “Future Challenges for it must be “a good thing”.There any systematic peer-reviewed 6 The Arts of the Sikh Kingdoms – The Conservation Co-ordinator’s View Conservation”. The organisers, are many different routes to a evaluation. English Heritage, will be specified level of knowledge and Mike Wheeler, Senior Paper Conservator, Paper Conservation However in the longer run it is publishing the main part of the skill. An academic qualification is possible to imagine a situation 7 The Indian Vase Carpet Fragment: Decisions and Discussions Prior to discussion and the conclusions of only a part (and possibly not a where accreditation does Conservation the group. The core group was necessary part) of reaching that genuinely discriminate the Val Blyth, Senior Textiles Conservator, Textiles Conservation composed of UK participants and level. It is somewhat arrogant to competent from the incompetent, although both the whole world assume that all the products of a rather than just those who choose 10 Should a Conservation Treatment Reveal the Secret of Damascus Steel ? and the distant future were particular training scheme will to join and those who do not. Sophy Wills, Metalwork Conservator, Metalwork Conservation discussed, the conclusions develop to a universally accepted Simon Metcalf, Senior Metalwork Conservator, Metalwork Conservation inevitably centred on local matters standard. I have paid my £200 so It is also possible to imagine that and possible actions in the that I may be assessed by my peers this will not occur unless major 14 Ranjit Singh: The Lion of the Punjab immediate future. in the hope that I will be evaluated employers begin to use it as a Editorial Board Nigel Bamforth, Furniture Conservator, Furniture and Woodwork as competent. criterion for selection long before Jonathan Ashley-Smith Collection One obvious weakness of the UK it becomes an absolute measure Head of Conservation Department Conservation profession is that it In the part of my soul that has for discrimination. Victoria Button, Paper Conservator 16 Science Surgery, is represented by a number of espoused a short-term managerial Conservation Department Science and Information Section, Conservation Department different bodies with different outlook and with the arrogance Helen Jones, Course Tutor aims and diverse standards. These that automatically goes with a 17 The Function of a “Fetish” Figure RCA/V&A Joint Course in Conservation have been recently drawn closer permanent job in a National Victoria Hobbs, MA student, RCA/V&A Joint Course in Conservation Paula Mills, Conservation Scientist (with the Horniman Museum) together by the “Conservation Museum, it is less obvious that Conservation Department Forum”. However, a forum is not a accreditation is useful. In the short Mike Wheeler, Senior Paper Conservator cohesive body with a single voice term, it will make no difference to Conservation Department 20 The Artificial Patination of Bronze Sculpture Lyndsey Morgan, MPhil student, RCA/V&A Joint Course in Conservation and set of standards. The group our relationship with internal Managing and Production Editor felt that there should be a rapid clients whether 0%, 50% or 100% Sophy Wills, Metalwork Conservator Conservation Department 23 New Staff move to form a single professional of Conservation staff are body. The long awaited move accredited. In the short term we Designed by V&A Print Unit 24 Conservation Department Staff Chart towards a system of accreditation are likely to recruit or contract Photographs are credited individually for conservators was felt to be a what we see as the best person to

© Victoria & Albert Museum. ISSN 0967-2273 strong focus for unification. It was do a job, using criteria other than automatically assumed that accreditation to evaluate All enquires to: Conservation Department accreditation was a good thing. competence. For some while to Victoria and Albert Museum London SW7 2RL, UK Telephone: +44 (0)171-938 8624 Fax: +44 (0)171-938 8661 Email: [email protected]

The cover shows Maharaja Gulab Singh of Jammu and Kashmir, c.1846, Museum No. IS.194-1951. Size of object without frame: 26.2 cm x 20.7 cm Photography by V&A Photographic Studios

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Accreditation for Conservators – The Arts of the Sikh Kingdoms January 1999 April 1999 What Do We think? status, there are a number of issues. These include Susan Stronge potential conflict of interest, the financial burden of Curator of the exhibition, Indian and South East Asian Collection Alison Richmond paying for two schemes, and the competency of conservation bodies to judge other professions. Course Tutor, RCA/V&A Joint Course in Conservation This V&A exhibition, shown from 25 March to 25 coins) and then explores the artistic heritage of People also recognised that any scheme will have its July 1999, marked one of the most important the region now divided between India and At the end of October 1998, the United Kingdom problems. “…It is inevitable that people will be anniversaries in Sikh history: the creation in Pakistan: the great Mughal tradition centred on accredited who shouldn’t be… In such a small Institute for Conservation invited its members to apply March 1699 of a new order called the Khalsa, or Lahore, and the vividly distinctive schools of profession it will be difficult to deal with those who do for Fast-Track Accreditation. The Institute for Paper ‘the pure’. Millions of Sikhs all over the world painting in the Hindu kingdoms of the Panjab Conservation is also planning to launch its own fast- not come up to the expected level.” “There will be a lot to learn from Fast-Track. For example, it is very today are still identifed by the visual symbols Hills. The comprehensive view of Ranjit Singh’s track scheme this Spring. Both precede the Joint adopted 300 years ago, including the uncut hair court which follows includes paintings of leading Accreditation Scheme (UKIC, IPC and Society of difficult to come up with statements that can be that men cover with a turban, as well as by personalities, some of the maharaja’s most Archivists) which is currently in the consultation phase related to all areas of conservation and there will be and due to be introduced in January 2000. more work to do to make the criteria more focused.” standard surnames, Kaur or ‘princess’ for treasured possessions (including spectacular women, and Singh or ‘lion’ for men, introduced jewels), and pieces from the Sikh armoury, To stimulate interest and provide a forum for Some expressed their concerns. These fell into two main areas: the response of the Museum as a at the same time. including the idiosyncratic turban helmets. Ranjit discussion, we invited Jane Henderson, a member of Singh hired former Napoleonic generals to corporate body, and the future of accreditation once An exhibition with a religious theme might seem the UKIC Accreditation Working Group, and now a reorganise his army on European lines, and they consultant to the Joint Accreditation Committee, to Fast-Track is completed. the obvious choice for this seminal anniversary, commissioned paintings from local artists as well come and talk to us in early November. To a get an While Jonathan Ashley-Smith, the Head of but was ruled out by Sikhism’s rejection of as shawls from the weavers of Kashmir, part of impression of the response of conservators here at the Conservation, has given his personal approval and religious iconography. There is no Sikh sculpture, the Sikh kingdom from 1819. V&A, I talked to members of staff who were eligible resources have been made available for staff to act as and the holy book has a sanctified status making for Fast Track about their views on accreditation. I also sponsors, the V&A does not, as yet, have a policy on it a wholly inappropriate exhibit. There are no After the great ruler’s death, a decade of counted how many of those eligible intended to apply accreditation. Many felt it was important for the contemporary portraits of the ten Sikh Gurus, upheaval and war culminated in the British (out of 40 eligible 31 said “yes”; 6 said “no”; and 3 Museum to make its position clear as soon as possible and the predominantly 19th century depictions annexation of the Panjab in 1849. The boy were undecided). for a number of reasons. Firstly, as the Conservation of them vary in quality. maharaja, Dalip Singh, was deposed and came to Department of a national museum, we are in the Almost everyone I interviewed acknowledged the England where he was painted by Winterhalter spotlight. “How can we make statements like ‘we are Thus, a different theme was chosen, and the benefits of accreditation. High on the list of immediate and photographed by the Royal Family. at the cutting edge of conservation’ or ‘we are a historic V&A collections, inevitably the core of benefits was protecting the public by providing a Despite the problems suffered by the mechanism for challenging wrong decisions or centre of excellence’ if we can’t back it up with the exhibition, led naturally to the cosmopolitan something concrete?” Secondly, there is a danger of region, the arts of the Panjab incompetent work. Positive outcomes in the longer court of the first Sikh Maharaja of the Panjab, establishing a two-tiered system if, once accreditation survived. Throughout the first term included raising the status and reputation of the Ranjit Singh (r. 1801-39). The court was the most is established, the Museum employs contract or half of the 19th century the profession and adding support in negotiations for magnificent in the subcontinent at the time, permanent staff who are not accredited. Lastly, for a Lahore court had patronised silk higher pay. Accreditation could also support us in and was also characterised by its religious other aspects of being a professional; for example, in full-blown accreditation scheme to work “…the weavers, embroiderers, tolerance, with Hindus, Muslims, Sikhs and taking an ethical stance which may conflict with other Museum must offer more than vague support. The metalworkers and wood carvers at process of accreditation must be built into the Europeans all holding high office. This rich requirements and offering the possibility of applying their various centres, and provided a management/staff appraisal system…There needs to be diversity meant an unusual approach had for personal liability insurance. One conservator market for the work of artists from all over the a pro-active approach to preparing for accreditation.” to be taken in presenting the wide highlighted the soundness of the competence-based Panjab. After annexation, the rulers of the range of material. It is almost principles of the proposed schemes. “This route Other concerns centred on the future and specifically smaller remaining Sikh kingdoms, notably Patiala, demonstrates that you can do it, no matter how many impossible to define an exclusively on the projected costs for candidates. While nobody is ensured the survival of these traditions into degrees you have. It establishes our credentials and happy at having to pay £200 for Fast-Track - one ‘Sikh’ art - the maharaja’s famous the 20th century. will lead to a unified profession.” conservator felt that the Museum should pay as a golden throne, for example, was People felt that it was important that all conservators gesture of support - most feel that it is a sacrifice that made by a Muslim, and even paintings Part of this first international exhibition on the take part, both those in public institutions and private must be made. Some younger conservators already of Sikh subjects could be the work of arts of the Sikhs will be shown at San businesses. When asked about accreditation for V&A feel that even current charges for Fast-Track would be Hindu, Muslim or Sikh artists. The Francisco’s Asian Art Museum from conservators, most believe that “as employees of a prohibitive. If we assume that most senior exhibition therefore tells the 22 September 1999 - 9 January 2000. conservators will have gone for Fast-Track, that will national museum it is our duty to take part. Moreover, fascinating, but surprisingly little- we have an obligation to help direct the process. We leave mostly younger people, employed at the lower end of the financial scale, to apply for accreditation. known story of the cultural history have the time and resources to do so (although we of the Sikhs through works of art. might have to fight for them!)” It is also a personal How will they afford the costs of accreditation which responsibility which has to do with an individual’s are currently being projected at around £600,when The opening section briefly they may already have substantial debts incurred by career development. explains Sikhism (through primary training and internships? There is a real From the point of view of other professionals working danger that the system will exclude the people who miniatures, 19th century photographs of the Golden in conservation (for example scientists, but there are need it most. If this happens who will carry the Figure 1 Dastar Bungar (Quoit Turban), Temple, illustrated manuscripts and Museum No. 3462 (IS) approx 43 cm tall x 25 cm diameter many others) who already have accredited (chartered) scheme forward into the future? Photography by V&A Photographic Studios

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The Arts of the Sikh Kingdoms – The Indian Vase Carpet Fragment: Decisions April 1999 The Conservation Co-ordinator’s View and Discussions Prior to Conservation April 1999 Mike Wheeler Val Blyth Senior Paper Conservator, Paper Conservation Senior Textile Conservator. Textile Conservation

The Arts of the Sikh Kingdoms combines examples both packing cases and technical assistance. In The Victoria & Albert Museum acquired a rare There was a lengthy negotiation period when the of Sikh art from the collections at the V&A with the event it has proved necessary to appoint an and beautiful carpet fragment in 1930. Museum carpet was inspected on a number of occasions loans from Europe, North America, India and agent in India to help handle this side of things. records describe the carpet as a fine Mughal by the head of studio, Lynda Hillyer, and myself Pakistan. During the preparations for this As the Conservation Co-ordinator I was especially carpet thought to have come from the Amber to establish an initial outline of the work required exhibition it has been necessary to look critically Palace near Jaipur. The carpet was made in and the likely costs. A full condition report was at information provided by our lenders, as it was concerned about the possibility of insect infestation arising from bringing material from Lahore for the apartments at Amber built for the made which determined that six months work not possible for a conservator to examine all of Raja Jai Singh I between 1628 and 1658. The including solvent cleaning and a full conservation the objects prior to the loan being agreed. Are another country which had not been examined by a conservator prior to shipment. It will be carpet belongs to the finest class of Lahore treatment of the carpet was considered essential. the requested objects in a fit state to travel to the carpets woven during the development of important to speedily identify and treat any pest A considerable amount of time was devoted to V&A and to continue on to other venues? How do Mughal art, the period of Emperor Shah Jahan. infestation on the arrival of crates at the V&A discussing ways in which this lovely object could standards vary from one institution to another? Later records describe the carpet as without delaying the installation schedule. One be made ready for loan; the outcome being that “unquestionably of the utmost value to designers It had been hoped that one member of the category of material particularly at risk is textiles. the conservation of this carpet was not possible and students.” (see figure 1) conservation team would be able to visit the These will be frozen for three days on arrival at within the existing work programme of the lenders in India and Pakistan to ascertain the the museum. All categories of loan objects textiles studio for the American exhibition. condition of all of the objects and carry out some arriving in the museum, together with any The decision not to lend was not made preliminary documentation on behalf of the V&A, packing materials will be inspected on arrival by a lightly. Ideally we would have liked to have prior to the proposed dates of shipping. A further conservator for signs of infestation. The condition approved the loan and carried out the advantage of this would have been to eliminate reports provided by the lenders will be used to necessary conservation work on this any objects which might be put at risk by check the condition of objects arriving at the important museum object. The carpet transport to the UK and the USA. In the event, it museum in the usual way, these will be was, however illustrated and included in has been necessary to rely solely on the supplemented wherever necessary by our own the exhibition catalogue2. It was described information supplied to us by the lenders condition report forms to give any additional as “Fragment of a carpet with pattern of themselves and by observations made by the information thought necessary for the tour. lattice and flowers incorporating vases. exhibitions curator who had seen many of the Objects with slightly differing relative humidity Northern India, Kashmir or Lahore, ca. objects originally proposed on a previous visit to 1650.” India and Pakistan. Terms and conditions of loans (RH) and temperature requirements have are still being finalised with some of the necessitated the provision of microclimates. This When the carpet was requested a second institutions in India and Pakistan as I write this, is a result of the slightly differing environmental time for an exhibition at the V&A, and as a and discussions are underway which may result in conditions specified by lending institutions. Art rotation object for the Nehru gallery, the a selected number of objects from this exhibition Sorb™ cassettes containing silica gel have been previous condition report was extremely being sent to India in 2000 for an exhibition in incorporated in three of the display cases, which Photography by V&A Photographic Studio useful. New Delhi. A slightly smaller version of the have slightly varying RH requirements, and where Figure 1 Detail of Indian carpet showing repeat pattern of tiles containing vases of the contents are particularly susceptible to flowers. Mid 17th century, Kashmir or Lahore. Museum No. IM.67-1930 Condition before final selection for exhibition held at the V&A will travel to the Asian Repeat size 75 cm x 66cm changes in dimension as a result of fluctuations in forthcoming Sikh Exhibition Art Museum in San Francisco in August 1999 with Introduction The carpet was at first sight in fairly good a possibility of extending the tour to include the RH. Monitoring of the environmental conditions This Indian carpet fragment was initially condition with a strong design and very bright Royal Ontario Museum in Toronto, Canada. will be carried out during the exhibition. Data loggers placed at object level will act as a means requested for a major exhibition of carpets called colours. Closer inspection of the carpet however This exhibition has been challenging due to the of checking on the effectiveness of the climate “Flowers Under Foot”1 at the Metropolitan revealed that the overall condition was in fact variety of objects selected, and due to the control systems incorporated into the present air Museum of Art in New York This exhibition of quite poor. There were loose warps on both the practical and political complexities involved in conditioning system. Indian carpets was held last year to celebrate 50 front and back of the fragment, which had borrowing from institutions in India. The packing years of Indian independence. A loan request for sprung away from the pile. Every time the carpet and crating of objects in India is being handled by Whatever the complexities presented by this a large textile can cause consternation as the was moved the amount of fibre shed from the Star Packaging, who have previously worked with unique exhibition, the high quality of the objects conservation work required to make the object fit wool indicated that the carpet was brittle and travelling exhibitions mounted by the British selected from the V&A collection together with for display will be considerable; as was the case would not be able to withstand repeated Council. Initially the V&A had hoped to assist with those borrowed from other museums around the for this carpet. handling. This was a major reason for not the packing and crating of objects by providing world, have made this exhibition a very exciting allowing the carpet to go on loan, as the carpet project to be involved with.

6 7 Conservation Journal April 1999 9 The Metropolitan Dover Publications, Handwoven Carpets, Carpets of Central Persia, Using the same dye recipe as Using the linen tape was also for the rep, around all the cut dyed for use fragment. When edges of the the edge with a applied to stitch this formed small blanket which a gentle rolled edge and protected the raw edges stopped further unravelling or was then pile loss. The carpet lined with curtain lining fullness in incorporating a little the fabric to avoid any on the rug whilst puckering to be hanging. As there proved the insufficient space in carpet exhibition to have the on a sloping board it was decided that the carpet would Velcro™ have to hang vertically. was sewn on to tapes which were stitched along the top edges and a little way down the side edges to give the carpet Flowers Under Foot, Indian Flowers Under Foot, Carpets of the Mughal Era, Museum Of Art, 1997 Oriental and European, New York, London, 1922 New York, 1976 of Islam Festival, World 2. Ibid p107, fig.107 3. and Tattersal., Kendrick 4. Beattie, May H., References 1. D., Walker, Comparison of estimated time with for the repairs actual time taken The original estimate was based on someone on a working full time over a six month period contract. I carried out the work as my main through to project for 1998 from February all the on The carpet was not worked November. time but ran concurrently with other projects in the section. The conservation took approximately 500 hours. Whilst the conservation work carried out on the carpet enabled it to hang vertically for this exhibition, it is not a long term solution for would display as a gentle slope or flat on a plinth be preferable. The conservation of one major a very long time. object can take more support when hanging in the exhibition. (see figure 3)

Figure 3 Edge repaired with blanket stitching to dyed linen 3 Edge repaired with blanket Figure tape which forms a rolled edge to protect the frayed edge. Photography by Val Blyth Val by Photography

Conservation treatment condition reportThe original and time required for estimate of conservation for the allowed given a full treatment carpet to be at a including solvent cleaning A facility outside the museum. display variety of methods for a were discussed including fragment sloping board with the on three sides attached by Velcro batten or a conventional wooden Velcro secured to the wall with only. used on the top edge The actual conservation treatment this has varied slightly from outline plan. Several tests were carried out in the studio using a suction table where white spirit was applied with a brush locally to the stains. There was a slight reduction in the intensity of the stains but was complete removal proved impossible. There also no appreciable difference in the visual appearance of the wool pile. It was therefore decided not to go ahead with the scheduled solvent cleaning treatment at The Textile Conservation Studios at Hampton Court, where a larger suction table may be hired for such treatments. The carpet received a thorough surface clean using a variable suction vacuum a cleaner with small attachments. This removed considerable amount of surface dirt and dust and more ingrained particulate soiling. A detailed diagram was made of the damaged for areas which helped in the decision-making either a full linen scrim support or patch repairs. The sprung warps on the reverse of the rug were considerable and had to be realigned before any further work could be carried out. The repairs were carried out using a curved needle and a laid Once this was couching thread of polyester. completed, the decision was made to use support cotton rep were patches. Samples of dyed to match the ground colour of the carpet and the best match used to dye sufficient material for the proposed patches. The cotton rep was chosen because the ribbed appearance of this weft well behind worn faced fabric looks areas of the carpet. The patches were placed behind areas of weakness where there was partial were loss of warp or weft loss. Patches and pile also placed behind other areas where there were gaps tears or holes. Drawing by Pauline Webber and Danny Norman Danny and Webber Pauline by Drawing 1998 Comments The fragment is irregular in shape 17 to 18 warps per 1cm on both levels All three separate the rows of knots worn, almost down Very to the collar of the knots in many places No colour measurement taken Cut edges Cotton wefts knot Wool Cotton warps Silk weft 1998 Technical Analysis Technical Measurements: top edge 194cm, lower edge 195cm. Left-hand side 355.5cm, right-hand side 348cm on two levels, one Warp: set depressed. Ivory cotton S6Z two passes of cotton Weft: with one of silk in between Pile, Wool Knots: Pashima knot is asymmetrical Colour: slight degree of fading to the eye, other- wise good No end finishes present 1930 Figure 2 The weaving structure, Figure showing depressed warps, wefts and knotted pile. Technical Analysis Technical Measurements: 11’4 x 6’4 white cotton, 8 ply, Warp: 31 to 1", two levels two x two fold Weft: shoots of red cotton, sepa- rated by one sinuous crim- son silk shoot, almost hid- den at the back by the knots senna type, Knots: Wool, about 260 to the square inch Colour: eight, crimson ground, white, light blue- green, light crimson, ochre and purple Sides and ends missing Table 1: Comparison of carpet structure in 1930 and 1998 Table . The vase technique refers to 4 . Further work done on the technique . Further 3 which is prone to breaking, means that there 8 was carried out by May Beattie who referred to a group of carpets of similar construction as “vase technique” The design is a repeating pattern of trellis x with vases and plants. Size of repeat: 75cm was 66cm, (29”x 26”). This design description who, along with Kendrick made by Mr Tattersall in 1922, produced one of the first as comprehensive books on carpets as well making the analysis of this carpet weaving technique Description of carpet weaving technique would not survivewould not and the repeated rolling for a loan exhibition. unrolling required numerous wornThere were a areas and cut edges number of holes. The substantial several and frayed. There were were weak fragment was dirty. stained areas and the of paint remains on the There was evidence of painted warps. edges and several areas had been This large carpet fragment larger carpet, cut down from a much have had a which presumably would now entirely missing. Further border, that there inspection also revealed were several repairs made from cut pieces from another part of the original larger carpet. is an inherent weakness in the structure. a structural design, not necessarily to a figurative design even though this is also the pattern in this case. There are some differences in the actual technical analysis of this fragment and the group to which Beattie refers but there are also many similarities most notably the cotton and knots silk wefts and the densely packed (see figure 2). There are three passes of weft after each row of knots. The first and third are of cotton, which is quite tightly woven, the second or middle weftsinuous pass is of a of silk thus dividing the warps into a Over time definite upper and lower layer. the worn surfaces of the carpet show characteristic parallel warps when the second weft and the two of silk breaks planes spring apart. that the It is obvious two planes of warp allow a carpet to be densely knotted but the fine second warp,

Conservation Journal April 1999 Conservation Journal April 1999 11 object it was, and so to returnobject it was, the surface to finish would increase its intended of it. understanding a bad old conservationconsidered would be a reversal treatment, and etching of this treatment. and as much skill and experience as factor, prior to possible would be acquired treatment. • polished surface The bright is now • Risk of failure alone should not be a deciding length, with the agreement of all V&A staff At concerned, and with a generally positive from outside the V&A, we consensus of opinion with the treatment. decided to go ahead

2.a Detail of the axehead before etching, showing heavy polishing scratches. 2.a Detail of the axehead before etching, showing heavy polishing 2.b Detail of the axehead after etching, showing watering pattern. Photography by Sophy Wills Sophy by Photography was 5 wootz ) as in its . 4 wootz although damaged by heavy scratching and and therefore this interventive wear, treatment could be said to be unnecessary, since it would not improve the stability of the object. bright finish (and associated heavy polishing and scratches) represents historical damage, should be leftof the history as a record of the object. treatment. More polishing would reverse the treatment, but this would involve the removal of an unacceptable amount of original surface material. original owners lay as much in the material from which it was made ( form.was not visible, Because the watering the axe was not ‘readable’ as the high status used. This guides the conservator through the different factors to be considered before treatment of an object, by a series of sixteen the questions. Question C: “Do I need to consult following: clients, peers, other specialists?” seemed the best starting point. The consultation process included V&A curators, Sikh military experts, senior conservators from the V&A, and specialists from other museums. All discussions covered the issues raised by the Ethics Checklist. summarise these discussions: the main To reasons NOT to attempt the treatment were •fundamentally stable, The object was • the surface The polishing of to a of the blade • There is always a risk of failure with any Against this, we felt that the watering pattern should be revealed because • The intrinsic value of this object to its Revealing the watered patternRevealing the watered of the of a weak acid to etch the would involve the use to carry help decide whether or not surface. To V&A Museum out the treatment, the Conservation Department Checklist Ethics During the removal of corrosionDuring the products, the object the high quality of evidence of revealed examination emerged. Microscopic most of the of the steel on regular hatching on the sides and and decorative areas raised ribs which would have provided blunt end of the axe, for overlaid gold which originally covered a key these areas (very small residues of gold could be to an inscription was found seen). Additionally, Jang (‘war axe to Safdar-e be a dedication of the who was a governor of hero’ in Persian), district Lucknow and the Avadh wootz. mechanical properties (hardness and toughness) and its famed patterned surface. swirling This grain pattern was enhanced on the finished weak acid etchant. blade by the use of a was Initial assessment revealed that the axehead in poor condition (see figure 1). Of immediate concern were patches of active iron corrosion. In addition the surfaces of the blade were covered with disfiguring scratches, the result of heavy A patch with a very faint watered over-polishing. pattern, together with the form of the axe, indicated that the object was made from The feasibility of revealing the original watered surface was raised, and so the object was brought to the Metalwork Conservation studio for further investigation. before conservation tabarzin has wootz, . Made 1 Wootz Wootz 1. Mus No. 400-1875 The head of the both its highly prized wootz (saddle axe), Museum No. (saddle axe), Museum have also been used (the term ). It is a cast, high-carbon steel, 2,3 bulat The Arts of the Sikh Kingdoms

tabarzin and will be used during this article).

wootz which has then been skilfully forged to retain unusually large crystals of cementite (iron (iron carbide) segregated in rows in a pearlite crystalcarbide and iron) matrix. It is the unique structure which gives of damascus steel, it is decorated with raised ribs, of damascus steel, it is decorated with raised low relief chiselled patterns and inscriptions. by This type of steel has been known in Europe steel, many names, most commonly as damascus or more accurately as watered crucible steel. India and the Middle East the words From pulad, been prized throughout history as a high quality in the blade steel. It is thought to have originated Indian sub-continent early in the first millennium of AD, but opinions differ as to the exact method manufacture ( 400-1875, dating from 1739-1753 and possibly 400-1875, dating from appear in the V&A made in Lahore. It will exhibition This articleof discusses the treatment of the head a Mughal Simon Metcalf Metalwork Conservation Senior Metalwork Conservator, Secret of Damascus Steel? of Damascus Secret Sophy Wills Conservation Metalwork Metalwork Conservator, Should a Conservation Treatment Reveal the Reveal Treatment a Conservation Should 10 Photography by V&A Photographic studio Photographic V&A by Photography

Conservation Journal April 1999 Conservation Journal April 1999 13 Vol 50 No. 9, Vol British Museum in Materials JOM, Metallography. and in Metallography and The Arms and Armour of Scolar Press, 1994, pp.111-112 The J Paul Getty Trust in association Getty Trust The J Paul after conservation p.213 A., (ed), Oddy, Mixed Collection, in Is it acceptable? Restoration: No.99, 1994, pp.89-94. Occasional Paper Swords, or Flowery Grain of Persian blades, in commonly called Damascus Elgood, Robert, Arabia, Microstructure of Ancient and Historic Metals, with Archetype Books, 1991, pp. 69-74 W.E., The Key Role of Impurities in Ancient Role of The Key W.E., Steel Blades, in Damascus September 1998. This is the most recent 1998. This is the most September published who has work by Verhoeven, extensively on this subject characterisation, 4. S. (ed), op. cit, Melikian, A. S., in Stronge, 5. to a J., A Consistent Approach Ashley-Smith, 6. Giohar S., Method of Renewing the Barker, 7. Scott. David, A., 3. A.H., and Dauksch, J.D., Pendray, Verhoeven, tabarzin The 4. Mus No. 400-1875 The head of the P Craddock, Studies in The Arts of the Sikh 5:2, May 1960, pp.52-59 V&A Publications, London, 1999, London, V&A Publications,

Kingdoms, Damascening of Sword-Blades – Part 2: The Damascening of Sword-Blades – Part Damascene Process in Conservation, Photography by V&A Photographic studio Photographic V&A by Photography Acknowledgements S Stronge, curator of to thank: would like We Arts the Sikh Kingdoms; of Department of Scientific Research, The British Museum; D Edge, Armourer to The Wallace ArmourerCollection; J Jackson, to the Royal Collection; A S Melikian-Chirvani, Research A Madra; A North, Director CNRS Paris; P Singh; O Untracht; A Metalwork Curator V&A; Metallurgist. Williams, References 1. Stronge, S. (ed), 2. and Maryon, Herbert, Welding Pattern Finally, it should be emphasised that this was not should be emphasised it Finally, objects are All museum a routine treatment. in their present unique challenges unique and conservation Before repeating and presentation. it would be on another object, this treatment necessary to repeat the preceding period of and discussion. research, broad consultation, contact with gilded areas. If this had not been the case, the gilded areas would have been protected with a commercial acid-resist product. As can be seen in figure 2b and figure 4, the etching process was successful; the watering pattern is clearly visible once again over the blade of the axe. It was found that very little of the surface had been removed; although the watering pattern effectively disguises the heavy polishing scratches (see figure 2), under microscopic examination in raking light, they are still clearly visible. Similarly, the hatching on the originally gilded areas was unaffected (see and not all crucible will have a steel blade was wetted with Industrial Methylated wetted with Industrial blade was Spirits. over the was applied with swabs nitric acid surface, changing the swabs frequently (approximately every ten seconds). one minute approximately monitored. After was stopped. the application of etchant remove all acid. for several minutes to a hot air gun, and a acetone, dried using coating of microcrystalline wax immediately applied. other face of the blade. • surface The degreased the of one side of • solution of of 3% (v/v) aqueous A solution • Changes in appearance were closely • Running water was washed over the surface • The surface using was then de-watered • was followed for the The same procedure raised NB. Because of the design of the axe, with rib decoration, it was possible to avoid acid are therefore confident that little of figure 3). We the technical or historical evidence has been compromised. One point emerging from the consultation was process, the tests and the treatment itself, that success in revealing the watered pattern relies on the quality and structure of the steel as well as on the technique used. Thus, the quality to varyof pattern each piece of with will be likely wootz, watered pattern. ). However, 6 zagh was available for was available wootz and are also used by modernand are also used by blade 7 multiple layers of cling film, and the axe blade was hand-held at an angle to facilitate movement of the etchant over the blade. swab application; (running water) or by neutralisation (a solution of sodium bicarbonate in water); layer (microcrystalline wax),or to allow to air- dry.

Figure 3. Detail of the axehead after 3. Detail of the conservationFigure ribs. showing hatching of the raised

As a result of the tests, dilute nitric acid was chosen as the etchant. It was apparent that the best results were obtained when the surface was highly polished, thoroughly degreased and wetted prior to application of the etchant. It was since one aim decided not to polish however, was to try to preserve the existing polishing scratches as historical evidence. • The handle of the axe was covered with • how long to apply the etchant; • the etchant by dilution whether to remove • apply a protective whether to immediately smiths. Extensive tests were conducted to smiths. Extensive tests including: methodology, develop the treatment • how to prepare the metal surface; • or whether to apply the etchant by poultice research failed to find specific details, and so the to find specific research failed modern etchants nitric acid and ferric chloride These chemicals are were chosen for testing. used to etch ferrous samples for metallurgical analysis Fortunately, a piece of a Fortunately, testing purposes. We had hoped to uncover had hoped We testing purposes. (some sources for the etchant original recipes referred called to a substance 12 Photography by Sophy Wills Sophy by Photography

Conservation Journal April 1999 Conservation Journal Conservation Journal

the burnt and charred timber required a Ranjit Singh: The Lion of the Punjab consolidant that would be flexible, whilst allowing for changes in environment when on April 1999 exhibition and later on loan. A 10% solution of April 1999 Nigel Bamforth Butvar B98 in a mixture of 60% IMS and 40% Furniture Conservator, Furniture and Woodwork Conservation toluene was selected, and this was applied with a sable brush until the required saturation was During the preparation for The Arts of the Sikh Conservation achieved. Kingdom it was decided that the architectural A detailed condition assessment was made in the The two polychromed panels which are nailed model of Ranjit Singh’s tomb was to be displayed. Furniture Conservation studio to reveal the into recesses on either side of the central An examination of the object was made, and a extent of the damaged timber, as well as archway also required attention. Advice was decision taken that only three of the facades discoloration resulting from the application of a sought from both Nicola Costaras, Senior would be exhibited, as the other components are darkening surface coating which had Paintings Conservator, and Mike Wheeler, Senior not contiguous. accumulated surface dirt. We have to assume that Paper Conservator. There was considerable this impregnation and darkening of the timber flaking and lifting of pigments on both panels, as Photography by Nigel Banforth History The central element of the main façade after conservation was done to achieve a more uniform colour over Architectural models were made in India well as a build up of dirt and soot, especially on the object. The polychromed panels also suffered throughout the nineteenth century, often for the proper right panel. This panel was also split. Surface layer: chalk (carbonate) and white lead discoloration from soot, leaving the images less display at national and international exhibitions. Attention was given first to the flaking and lifting Middle layer zinc and white lead distinct. However, it is fortunate that the burnt This model replicates the imposing tomb, or material. This was mainly consolidated with 10% Ground chalk(carbonate) and white lead. material is confined to the lower areas where it is samaohi, built to commemorate the ‘Lion of the Aquazol™ in de-ionised water, although the most Samples of the rust coloured pigment were also charred and friable, leaving most of the object Punjab’, Maharaja Ranjit Singh Located in Lahore, unstable flakes were adhered with a more viscous taken for analysis. This colour was composed of generally in a stable state. the mausoleum was designed in a mixture of solution of methyl cellulose, applied with a sable numerous pigments, presented in a crystal-like Hindu and Muslim architectural styles. The treatment of the model covered two differing brush. The split timber was glued with Helix™ form; orange, white (opaque), black, pale yellow. Completed in 1851, the exterior was faced in areas; the architectural model and the painted animal glue and held in place. The polychromed The pigments are perhaps vermilion with traces chunam, a lime plaster polished to resemble panels. Fourier Transform Infra Red spectroscopy surface was now stable enough to gently clean of ochre. Further XRF tests would help to identify marble; on either side of the central doorway tests were carried out by Science Section to try with saliva applied with cotton wool swabs. The the pigments. (north front), two life-sized reliefs stand guard soot particles proved more difficult to release and identify the substance previously used to Decorative carvings, both in ivory and in timber over the royal shrine. The interior decoration was from the surface, so a solvent solution of 5% tri- impregnate the timber. It had been suggested were missing from above the doorways. It was an exotic eastern style; convex mirrors reflecting ammonium citrate in de-ionised water was that linseed oil was possibly present, but decided to manufacture replacement for these light on the walls and ceilings, illuminating the applied with a cotton wool swab, then rinsed ultimately the tests revealed that it was shellac carvings, as their loss impaired the overall Muslim and Hindu painted scenes. This model with de-ionised water. This removed about 20% which had been used. Solvent tests were also aesthetic impact of the object, The carvings were was previously displayed at the ‘New Museum’ of of the blackened surface, making the panels carried out, and ultimately the use of a 20% cast in Tirantis ‘pigmented’ clear casting polyester the Indian Museum in London when it opened in visually acceptable. solution of Industrial Methylated Sprits in de- resin 405 710 and then adhered in place. 1858, but, sadly, was severely damaged in a fire at ionised water was the most effective. This was the Museum Annexe in 1885, although it had applied on cotton swabs to remove the surface Although it is still quite evident that the model previously been on display at the Indian Museum grime and restore the polychrome outline has had fire damage, it is now stable and suitable in 1880. surrounding the low relief carving. Treatment of for exhibition, as part of the powerful and turbulent history of the Sikh nation. References Artibus Asiae, Museum Reitberg, Zurich, 1993 Dirt and Pictures Separated. UKIC Conference Papers, Tate Gallery, 1990 Latif, Syad Muhammad, Lahore: Its History, Architecture and Remains, New Imperial Press, Lahore, 1892, pp.81-83,129 Photography by Nigel Bamforth Figure 2. Detail of one of the polychromed panels during conservation Aijazuddin, F.S., Lahore, Illustrated Views of the 19th Century, Vanguard Books, Lahore, 1991, Analysis of the polychromed panels was pp87-91 undertaken by Hannah Eastwood, Conservation Scientist, to try to gain an understanding of the materials used in their construction. Small samples of the white ground were taken; these Figure 1. View of the main façade of the model of Ranjit Singh’s tomb. Museum No. 944 (IS) 126cm x 41cm Photography by V&A Photographic Studios revealed the application of three layers of pigments, with an extender of carbonate: 14 15 Science Surgery [email protected] Royal College of Art Victoria & Albert Museum Joint Course Conservation

Display case Award for The Function of a “Fetish” Figure collaboration innovation Victoria Hobbs RCA/V&A Conservation Course (with the Horniman Museum), MA Student, Ethnographic Materials A collaborative project on display cases The 1998 Jerwood Award for Research has been established between the and Innovation has been won by David V&A, the Opificio delle Pietre dure e Ford of the V&A’s Science and Laboratori di Restauro, Florence and Information Section and Stuart Adams The title of this paper refers to a nkisi of fetishism and terms such as idolatry, Laboratorio Museotecnico Goppion of Queen Mary and Westfield College. power, or “fetish”, figure devil-worship and evil-doing. The S.R.L, Milan. This research will focus in (Museum No. 13.33) Kongo people refer to such figures as The collaboration has resulted in a turn on the various aspects of display that has been nkisi, or minkisi in the plural. cost-effective method for monitoring cases – security, environment, display, conserved prior to and analysing particulate matter in Minkisi come in various forms. The maintenance, construction, business being included in museums and other cultural most common feature is a pack issues, integration, services. the re-display of properties. The package consists of attached to the back or the abdomen ethnographic It is unusual for a museum to regard glass slides (for deployment) and a of the figures which is usually covered artefacts at the Horniman Museum. display cases as assets in their own gloss meter (for interpreting the with a mirror. It is this pack, and other The Golden The object is from the Congo in right and there are no audit trails for slides). This kit enables museums to attachments, which provide the central Africa; it was accessioned in to these large, expensive pieces of choose to carry out the work figure with its function. It was the the collection in 1913 but was Throne equipment. The V&A has display cases independently or use the service nganga, or priest, who operated probably made sometime during the from the late nineteenth century provided. the nkisi and ministered its Museum No 2518 (I.S.) 1800’s. The purpose of this paper is to through to modern day purchases, powers to others1. The priest The award ceremony was held in the discuss what the object was used constructed from different materials would order a wooden figure Foreign & Commonwealth Office, for, what its various components The magnificent throne, formerly used and selected for aesthetic or security from the carver and then endow London, last December. At the are, and to question whether, by HM the Maharaja Ranjit Singh, can reasons. The Museum currently has in it with its power during a ritual at ceremony Loyd Grossman, a as part of the museum’s be viewed in The Nehru Gallery of the region of 4000 cases. This is a which time medicines or magically- commissioner for the Museums and collection, it has lost some Indian Art, 1550-1900 (room 41). It is replacement cost in the region of £20 charged materials were attached. The Galleries Commission (MGC), of its meaning, which in embossed sheet gold over a wood and million (current market value) and empowering substances could be commented that “in the UK we enjoy turn may affect the resin skeleton and was made by Hafiz such an investment surely warrants a inserted into cavities on the head or the highest standards of Conservation intervention of the Muhammad of Multan around 1818. maintenance programme similar to an between the legs, as well as behind in the world and the winners are living conservator. air-handling plant: that is a regular the glass plates. In addition to Nearly twenty years ago a request was proof of the talent, expertise, and sequence of checks on their Although such objects carved figures, objects including received to assay the gold content of dedication displayed”. the decorative sheet. With much performance. We are now looking at are frequently called shells, horns, cloth-bags, gourds trepidation a small sample of the metal devising a planned maintenance The initial study, which resulted in this “fetish” figures, referring to the fact and clay pots were used as 2 was removed for atomic absorption scheme for display cases. collaboration, was published in an that they were believed to have containers for this material . earlier edition of the Conservation magical powers or that excessive analysis from the underside of the Preliminary results, from a limited What was attached to the figure was Journal (No 22 p19-21). The team will devotion was paid to them, throne. The analysis showed the sheet number of museums, shows that a determined by the powers to be continue to expand the research into this is an entirely European metal to be pure gold. The ‘bloom’ planned maintenance and cleaning associated with it. The nkisi new areas. term and evolved from a that appeared on the surface of the programme of the interior of display could be empowered to be condescending sheet gold that prompted the analysis, cases is generally absent. Their a figure of ill-omen or of misinterpretation of African was attributed to a lacquer applied in external surface is usually cleaned benevolence which civilisation. Locally- the 1960’s. daily, depending on staff availability, protected against sickness produced objects were yet their interior is cleaned only when or dangerous spirits. With With the advances in analytical sought by Europeans as the object contained inside is removed its attachments the figure is chemistry that have been made over souvenirs and curios of for ordinary maintenance, for loan, or imbued with an the intervening period it is now what was viewed as the when dust is really evident! An empowering spirit also possible to undertake this type of ‘primitive barbarity of understanding of the effect the known as nkisi. Nkisi is analysis without the removal of any Africans’. Picture postcards cleaning agents can have on objects conceived as a power material from the object. This were also available depicting appears to be missing. An investigation emanating from the technique of analysis is called energy ceremonies and customs, dispersive x-ray fluorescence of cleaning materials currently in use unseen world of the See our Science website accessible Photograph by Victoria Hobbs. Copyright Horniman Museum. which promoted the theory spectroscopy – or EDXRF for short. in museums is underway. A more detailed article on our findings will be from URL: http:/www.vam.ac.uk/ Figure 1. Nkisi figure. Museum Number 13.33. presented later in the year. science/vandatemp/index.htm.

16 17 Royal College of Art Victoria & Albert Museum Joint Course Conservation Royal College of Art Victoria & Albert Museum Joint Course Conservation

dead, an omniscient force which is to hide the nakedness of the figure as history of an object and how it should otherwise inaccessible to human it was considered among the greatest ultimately look after treatment. Once perception3. In being persuaded into insults to stare at the buttocks of given that information it is very often a taking up residence in a particular minkisi. Skin or leather that was case of minimum intervention when it contained space, it can then be attached was often the skin of animals comes to conserving an object. For manipulated by the nganga. that served as the diviners’ familiars. example, although this object has few surfaces or materials that would merit When a client required the use of the Nkisi figures are complex objects that wet cleaning, this was not considered nkisi, a further ceremony was offer an endless variety of because of the fact that libations such performed by the priest. An interpretations within a certain as the chicken’s blood or other appropriately empowered figure was framework of ideas. However, no substances may have been poured selected, and through chanting, definitive reading can be made of such over the figure and now form part of singing and dancing, the nkisi spirit figures, as many of them are the history of the object and should would be called upon to act. Clients undocumented. The rituals for which not be removed. It is important to could also add small packets they were constructed are no longer have respect for the original function containing hair, fingernail clippings, performed. Therefore, most of the of the object, and as it may not at first shreds of clothing or other relics to ritual – the words, songs, gestures, be obvious what that was, research remind the nkisi of the particular costumes and the state of mind of the and curatorial collaboration are problem or of the person to curse or client – are no longer accessible to us. essential. protect. Figures could also be anointed All that survives are the mute objects – with the blood of chickens which were some now damaged by the process of sacrificed as gifts to the nkisi. This was collection and storage. Some figures Acknowledgements thought to make the nkisi aware of may have been altered because they With thanks to Louise Bacon, Head of the violence that could be expected of were thought to have been indecent Collections Conservation and Care, it. The purpose of the mirrored glass and not suitable for public viewing. and Anthony Shelton, Keeper of was not only to seal the medicinal Many other figures had their Anthropology, at the Horniman pack but also to reflect back the gaze attachments removed by collectors Museum. of the viewer, completely concealing who were more interested in the pure what lies behind. The mirror form of the carved figure. This symbolises the nkisi spirit’s ability to preference for the sculpted figure was References see the human world and the inability an impoverishment of the figure in 1. Gillon, Werner, A short history of of humans to view the underworld. itself. The nkisi figures were never African art, London; Penguin Group, The glitter of the mirror was also intended for art or public display in a 1986 believed to frighten witches and evil museum. The intention was to create a 2. Shelton, Anthony (ed.), Fetishism; spirits away. visual effect in the context of ritual visualising power and desire, The use, heightened by songs, drumming, Behind the glass plate on the back of South Bank Centre, London, and the and dancing. Information for the the Horniman figure (Museum No. Royal Pavilion, Art Gallery and storage of the nkisi after the 13.33,) are red glass beads, a small Museums, Brighton, 1995 ceremony, which would have been bone or tooth, and granular material

Photograph by Victoria Hobbs. Copyright Horniman Museum. provided by the priest, has also been 3. Ibid. which is possibly grave soil or Figure 2. Detail rear view of nkisi figure showing contents. Museum Number 13.33. lost. Some were intended to be kept in gunpowder. Value was often given to a specific kind of basket, or in the roof foreign imported materials such as The teeth are probably human teeth the attached feathers and strips of of the client’s house. Such information mirrors, gunpowder, cartridges and and suggest the ability of the nkisi to cloth or skin was that they would was often not recorded when the nails (Figure 2). The Horniman figure attack its victim. The bells are flutter during the dance that was part object was collected. has many attachments. These include associated with chiefship all over of the ritual, which would help to feathers, hooves, grass-seeds, bells, This loss of meaning and altered central Africa and indicate the power suggest spirit possession. Raffia cloth textile, skin, woven raffia fibre, shells context restricts interpretation of the and authority of the figure. Bells were was formerly used as currency and one and teeth. The feathers link the figure object, and the function may not be also put on dogs and symbolise the of the reasons it was attached was to to the violence of the sky; winds, rain, fully understood. Conservators of nkisi’s ability to hunt its victim. identify a thief. If someone had money thunder, lightning, and fire, and to the ethnographic objects, unless they stolen and the thief was unknown, a diseases of the upper body, head, neck Textiles that were attached to the themselves are from an raffia cloth was attached and the nkisi and chest. The shells are durable – figures were often strips from the anthropological background, or do would know whom to seek out and houses of creatures that were once client’s clothing, and personalised the their own research, are very much punish. Such cloths were also attached alive, and are synonyms for long life. request. A further underlying idea of guided by the curator as to the likely

18 19 Royal College of Art Victoria & Albert Museum Joint Course Conservation Royal College of Art Victoria & Albert Museum Joint Course Conservation

generation of sculptors. It is now patination techniques in the later half a storm whilst on display at the The Artificial Patination of Bronze Sculpture possible to colour bronze chemically of this century. Yorkshire Sculpture Park. Prior to this in a huge range of shades. it had acquired a patina from years of In gathering this information I was outdoor exposure which was a Lyndsey Morgan The artist’s involvement in the choice aiming to acquire enough knowledge uniform green colour. The necessity RCA/V&A Conservation Course, MPhil student of patina for their sculpture varies. to attempt simple patination of bronze for welding to take place to repair the Some artists leave the decision to the myself. Initially I was able to get useful damage meant that this patina would patineur in the foundry whereas practical advice from Richard Rome at need to be removed in a number of Prior to undertaking this MPhil Artificial patinas are applied to bronze antiquity on a sculpture. Traditionally, others supervise the process closely or the RCA sculpture school where I areas. Because of the difficulty research project I was a sculpture using chemical solutions which react therefore, sculpture has been even learn to patinate themselves. made use of the well equipped involved with getting an exact match conservator at the Tate Gallery, where I with the surface to form a thin layer of patinated in varying shades of browns There is no doubt, however, that the patination room funded by The Gabo with the outdoor patina using artificial became interested in the colouring of coloured corrosion products. Patinas and greens in imitation of the colours colour of a sculpture is an integral part Trust for Sculpture Conservation. I also patination methods, the decision was bronze sculpture. Whilst at the Tate I can be transparent or opaque and are which form naturally on bronze of its artistic intention. It is known that attended a very interesting summer taken to re-patinate the work had seen examples of sculptures on sometimes applied in a number of exposed to the elements. artists such as Barbara Hepworth and school about patination methods led which patinas were changing and layers to produce widely varied effects. completely using as a guide colour The techniques for colouring bronze Henry Moore were very specific about by Andrew Lacey at AMTeC. degrading but it was difficult to Patination has been used as a photographs taken in the 1960s when expanded in the late nineteenth the contrast and arrangement of patina determine the causes as so little decorative technique on metals by During the summer last year I took the sculpture was newly patinated. The century to encompass a wider range of on their sculpture. It is less easy to research has been published on this many different cultures for thousands part in the re-patination of a large photographs revealed that the original colours and surface finishes. During gain information as to how the subject. The aim of the project is to of years. However, the development of outdoor bronze by Barbara Hepworth patina had been a combination of the twentieth century the trend has sculptor felt about the ageing of the find out about the chemicals and patination as we now know it on which is owned by the Tate. The clearly defined brown and green areas been to move away from the more patinated surface over time. If a techniques used in artificial patination bronze sculpture probably began sculpture had been badly damaged in which were applied to highlight the traditional colorations and to develop sculpture is displayed outdoors it will and then, more importantly, to around the time of the Renaissance a new language of colour on the inevitably tend towards natural brown discover what happens chemically at when it was primarily used as a means surface of bronze for a modern and green corrosion products. the surface when they are applied. of conferring the appearance of Sculpture conservators sometimes consider Restoration to the artist’s original concept when a sculpture has been badly damaged, but this can be difficult or impossible to attempt where insufficient documentation about colour and pattern exists. I therefore also wanted to address the problem of accurate visual documentation in my research in order to find out what techniques were available to enhance those presently in use. The approach I have used is to investigate the chemical recipes and techniques used in patination through a diverse range of sources. This began with the published literature and was followed by a series of interviews with patineurs in foundries around Britain. This was undertaken with Kirstie Reid, another research student on the Conservation Course, who is studying modern methods of patination from an artist’s point of view. We were also able to interview some of the older generation of patineurs who were no longer practising but had worked with established artists. This has helped to give us an insight into the Photography by Frank Thurston Photography by Frank

Photography by Lyndsey Morgan Photography by Lyndsey development of foundry practice and Figure 2. Lyndsey Morgan patinating bronze samples in the patination room at the RCA Sculpture School. Figure 1. Bronze samples being cast in the foundry of the RCA Sculpture School.

20 21 Conservation Journal Royal College of Art Victoria & Albert Museum Joint Course Conservation

contours and inner and outer spaces Finally, a second cast of textured New Staff

of the work. During my work there I bronze samples has been made in April 1999 learned a great deal about the day-to- order that I can patinate them using a day activities in a foundry and was able range of common patination to learn the techniques of patination techniques. The purpose of this is not more thoroughly. I found the so much for analysis as to provide a collaboration with the foundry on this set of visual reference standards which project to be very valuable and felt can be built upon over time. This will that I could approach the problem be transferred to an image database via from a more informed standpoint as a calibrated scanning so that it can be result of my research. used in sculpture conservation departments as an aid in the After this I was had a range of bronze documentation of bronze surfaces. I samples cast at the RCA foundry hope that the combination of these (Figure 1) so that I could begin methods will lead to the beginnings of patinating them using rigorously a greater understanding of patinas on documented methods (Figure 2). This Pascale Regnault all types of bronze objects and included recording the process of Book Conservator (one-year contract) ultimately to take steps towards the patination in detail whilst Book Conservation Section analysis of unknown patinas. Tim Carpenter documenting the temperature of the Information Systems Manager, Conservation My career started with a two and a half-year metal, the pH of the patinating Administration apprenticeship in bookbinding in Munich, my solutions, and the relative humidity Acknowledgement After gaining an HND in Practical Archaeology hometown. I then came to London to do a one- and temperature of the patination The MPhil research project described from Bournemouth University in 1988 I worked year course in Bookbinding (design) at the room. These samples will be subjected in this article is generously supported for the Oxford Archaeological Unit. In 1990, I London College of Printing, followed by a Paper to various analytical techniques to by a grant from the Gabo Trust. joined the Museum of London’s Department of Conservation (library and archive specialism) investigate which are most appropriate Course at Camberwell College of Art. During that for characterising patinated surfaces. Urban Archaeology working on rescue digs within the City of London. However, the insecurity of the time I completed a fieldwork placement in the Although a great deal of research has profession prompted me to leave archaeology and Book Conservation Studio at the V&A. been carried out on “natural” seek more stable employment. After college I got a job in the Conservation patination processes on outdoor Two months later, I gained employment as a Department at the Bodleian Library, Oxford. After bronze and archaeological bronze, an initial tour through the various workshops, I there seems to be almost none Contracts Manager for the Training and Enterprise Council in Reading (TVE). At TVE I had to adapt settled in the Book Conservation studio as an relating to these artificial patinas. I am assistant to the Duke Humfrey Project. This was lucky to have had access to staff and from the methodical and scholarly environment of Archaeology to the working practices of a multi- set up specifically to deal with the holdings of the equipment at Imperial College oldest Reading Room at the Bodeian, and through the Conservation Course. So million pound business. However, this environment did give me the opportunity to encompassed all aspects of conservation, first aid, far, the preliminary results of the first full treatment, preventive conservation and public analyses using x-ray diffraction have develop my IT and information management skills. My role was to manage and develop Training relations. When my former supervisor left I was been interesting and unexpected. I put in charge of the project. hope to confirm and expand on these Programmes within very specific Government results using the technique of guidelines. In 1997 TVE promoted me to Planning I left the Bodleian after six and a half years to join Scanning Electron Microscopy (SEM) and Systems Executive, a more strategic role. the Deutsches Historisches Museum in Berlin with an Energy Dispersive I was delighted to be given the opportunity to where I mainly worked on exhibitions and 19th Spectrometer (EDS) work for the V&A and I feel that my career path and 20th C. book material. It was very exciting to has come full circle. There are many exiting new be involved in displays concerning very recent I was also able to learn the techniques German history and to observe some of the for taking metal sections with Anna challenges here and I know that there is a lot that my new role and colleagues can teach me. I look incredible changes taking place in and around Bennett of Conservation Technical Berlin. Unfortunately my 2-year contract there Services. I hope to use this technique forward to working with you to maintain and develop systems and solutions that will assist the ended and looking for further work I was offered to investigate the morphology of a contract here at the V&A. This is a great patina layers and to see whether it is Conservation Department in carrying out a very demanding work schedule. opportunity to work on the holdings of the possible to distinguish different National Art Library, and to be involved in patination chemicals and application As for Archaeology, I now have to be satisfied with research and training. I hope to learn about the methods. heckling the Time Team from my armchair. A less history of the collections, and also to meet other ‘hands on’ pursuit, but with far better job security. staff across the museum.

22 23 Conservation Department Head of Conservation Secretary Staff Chart Jonathan Ashley-Smith Annabel Swindells

RCA/V&A Course Head of Science Director and Information Alan Cummings Graham Martin

RCA/V&A Course Science Administration Furniture Helen Jones Boris Pretzel Tim Carpenter Albert Neher Textiles Alison Richmond David Ford Alice Rymill Tim Miller Lynda Hillyer Paula Mills Abigail Wright Christine Powell Marion Kite Brenda Keneghan Tim Hayes Val Blyth Nigel Bamforth Anne Amos Derek Balfour Ceramics & Glass Albertina Cogram Victoria Oakley Audrey Hill Fi Jordan Frances Hartog Students Computer Visualisation Science* Juanita Navarro Zenzie Tinker Internships Furniture* Nicholas Frayling (PhD) Paul Cadman (MPhil) Furniture Rowan Carter (MA) Angela Geary (MPhil) Pedro Gaspar (MPhil) Metals Paper Henriette Stuchtey Pauline Webber Victoria Doran (MPhil) Thanasis Velios (MPhil) Ethnographic Materials Genoveva Romero Diana Heath Ricard Sundström (MA) Alan Derbyshire Risk Assessment Victoria Hobbs (MA) Paintings Simon Metcalf Metals* William Lindsay (PhD) (With Horniman Museum) Joanna Whalley Merryl Huxtable Gaia Girad Elizabeth Martin Annie Hall (MA) Sculpture* Katharina Kardorf Sophia Wills Lyndsey Morgan (MPhil) *denotes discipline, Ingrid Barré Michael Wheeler Metaxia Ventikou (MA) Books Kirstie Reid (MPhil) not necessarily the V&A Donna Stevens Victoria Button Social History Objects Conservation Department Maria Beltran de Gebara Paper* Laura Davies Section Paper Mounters Sandra Grantham (PhD) Sculpture (With Museum of London) Ester Fried Danny Norman Magdalena Kozera (PhD) Richard Cook 20th Century Materials Clair Battisson Cecilia Rönnerstam (MA) Charlotte Hubbard Francesca Cappitelli (MPhil) Simon Fleury Shiho Sasaki (MA) Alexandra Kosinova Fotini Koussiaki (MPhil) Chris Gingell Textiles* (with Tate Gallery) Books Elizabeth-Anne Haldane (MA) Paintings Silvia Valussi (MPhil) Jane Rutherston Heather Porter (MA) Nicola Costaras Bridget Mitchell Katharine Donaldson Pascale Regnault Fran Downie

April 1999