Conservation Newsletter
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CONSERVATORS/RESTORERS Updated: 8/2015
CONSERVATORS/RESTORERS Updated: 8/2015 **THE HOOD MUSEUM OF ART DOES NOT RECOMMEND SPECIFIC CONSERVATORS. THIS LISTING IS MADE FOR PURPOSES OF INFORMATION ONLY.** Online directory of members of AIC (American Institute for Conservation of Historic and Artistic works): www.conservation-us.org/membership/find-a-conservator GENERAL – Also see individual media below Straus Center for conservation and Technical Studies Harvard University Art Museums 32 Quincy Street Cambridge, MA 02138 Paper, Objects, Textiles P: 617/495.2392 F: 617/495.0322 Website: www.harvardartmuseums.org Isabella Stewart Gardner Museum 25 Evans Way Boston, MA 02115 P: 617/566.1401 Paper, Objects, Textiles F: 617/278.5167 Email: [email protected] Website: www.gardnermuseum.org Vermont Museum and Gallery Alliance C/O Fairbanks Museum Referrals. Good source for general 1302 Main Street information on storage, packing, and St. Johnsbury, VT 05819 care of artwork. P: 802/751.8381 Williamstown Art Conservation Center, Inc. 227 South Street Williamstown, MA 02167 Paintings, paper, objects, furniture, P: 413/458.5741 sculpture, frames, analytical F: 413/458.2314 Email: [email protected] Website: www.williamstownart.org Worcester Art Museum 55 Salisbury Street Worcester, MA 01609 Paper, Paintings P: 508/799.4406 Email: [email protected] Website: www.worcesterart.org CONSERVATORS/RESTORERS Updated: 8/2015 General Continued Art Conservation Resource Center 262 Beacon Street, #4 Paintings, paper, photographs, textiles, Boston, MA 02116 objects and sculpture P: -
2009 Final Program
AMERICAN INSTITUTE FOR CONSERVATION OF HISTORIC AND ARTISTIC WORKS 37TH ANNUAL MEETING MAY 19-22, 2009 HYATT REGENCY CENTURY PLAZA LOS ANGELES, CA conservation 2.0 new directions FINAL PROGRAM BOARD OF DIRECTORS WELCOME FROM THE PRESIDENT Martin Burke President Meg Loew Craft Vice President Lisa Bruno Secretary Welcome to Los Angeles and AIC’s 37th Annual Brian Howard Treasurer Catharine Hawks Director, Committees & Task Forces Meeting! Since AIC’s first Annual Meeting in 1972, Paul Messier Director, Communications the meeting has grown to include workshops, Karen Pavelka Director, Professional Education Ralph Wiegandt Director, Specialty Groups tours, posters, lectures, and discussions. Many members and non-members attend each year to ANNUAL MEETING COMMITTEES take advantage of this exceptional opportunity to Meg Loew Craft Program Committee Jennifer Wade exchange ideas and information, learn about new Rebecca Rushfield products and services from our industry suppliers, and explore our Margaret A. Little Paul Himmelstein host city. Make sure to take advantage of the many opportunities Gordon Lewis that come from having so many of your peers in one place, at one Valinda Carroll Poster Session Committee Rachel Penniman time. Angela M. Elliot Jerry Podany Local Arrangements Committee This year’s meeting theme, Conservation 2.0—New Directions, Holly Moore emphasizes ways in which emerging technologies are affecting Jo Hill Ellen Pearlstein the field of conservation. The general session and specialty group Janice Schopfer Laura Stalker program committees have put together a variety of presentations Anna Zagorski that explore this theme. Papers will outline and showcase recent SPECIALTY GROUP OFFICERS advances in all specialties and address scientific analysis, treatment Architecture methods, material improvements, and documentation. -
Symposium Programme
IIC-Palace Museum 2017 Hong Kong Symposium 24-26 November 2017 | Chiang Chen Studio Theatre, Hong Kong Polytechnic University Theme: Unroll and Unfold: Preserving Textiles and Thangkas to Last Provisional Programme Friday 24 November 2017 9.00 – 9.30 Registration 9.30 – 10.00 Opening and welcome remarks Session I - Conservation and Historical Studies on Thangkas Moderator: Dinah Eastop Honorary Senior Lecturer, UCL Institute of Archaeology, UK 10.00 – 12.15 Jirong Song Deputy Director, Palace Museum, China ‘Conservation of thangkas hanging at the Xianlou Buddhist Hall of Xinuan Chamber at Yangxin Hall, Forbidden City – A case study on the conservation of the ‘Kurukullā’ thangka’ Teresa Heady Senior Objects Conservator, St Paul’s Cathedral, UK ‘The conservation of thangka paintings: In search of simplicity and reversibility’ Refreshments Ann Shaftel Director and Lead Instructor, Treasure Caretaker Training, Canada ‘Thangkas within monasteries, utilisation and conservation’ Question and answer session 12.15 – 14.00 Lunch Session II - Textiles Along the Silk Road Moderator: Xiaoji Fang Associate Research Fellow, Conservation Department, Palace Museum, China 14.00 – 17.30 Feng Zhao Director, China National Silk Museum, China ‘New insight into the ancient road: Revealing the exchanges between the East and the West from textiles excavated along the Silk Road’ Franca Cole Lecturer, UCL Qatar, Qatar ‘Textiles from the East: The Silk Road and the desert beyond’ Refreshments Monique Pullan Senior Conservator, British Museum, UK ‘Conserving textiles -
Collections Care Paper, Photographs, Textiles & Books
guide to Collections Care Paper, Photographs, Textiles & Books PLUS, check out our Resource Section for more information on preservation and conservation. see pages 56-60. call: 1-800-448-6160 fax: 1-800-272-3412 web: Gaylord.com GayYlouro Trustedrd Source™ A CONTINUUM OF CARE Gaylord’s commitment to libraries and the care of their collec- tions dates back more than eighty years. In 1924, the company published Bookcraft, its first training manual for the repair of books in school and public libraries. Updated regularly, the publication has provided librarians with simple cost-effective techniques for the care of their collections. When the field of preservation expanded during the 1980s, Gaylord responded with a line of archival products. In 1992, it issued its first Archival Supplies Catalog, followed by its innova- tive series of Pathfinders. Written by conservators, these illustrated guides earned a reputation for reliable information on the care and storage of paper, photographs, textiles, and books. This Guide to Collections Care continues Gaylord’s commitment to providing its users with the reliable information they need to preserve their treasures. Conservators have updated the information from our original Pathfinders and combined all five booklets into this one easy guide. We have also added product references as a convenient resource tool. ©2010, Gaylord Bros., Inc. All rights reserved. Printed in USA Gaylord Bros. PO Box 4901 Syracuse, NY 13221-4901 Gaylord Bros. gratefully acknowledges the authors of this pamphlet: Nancy Carlson -
Storage System for Archaeological Textile Fragments
Article: Storage system for archaeological textile fragments Author(s): Lisa Anderson, Dominique Cocuzza, Susan Heald, and Melinda McPeek Source: Objects Specialty Group Postprints, Volume Eight, 2001 Pages: 181-189 Compilers: Virginia Greene and Lisa Bruno th © by The American Institute for Conservation of Historic & Artistic Works, 1156 15 Street NW, Suite 320, Washington, DC 20005. (202) 452-9545 www.conservation-us.org Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation of Historic & Artistic Works (AIC). A membership benefit of the Objects Specialty Group, Objects Specialty Group Postprints is mainly comprised of papers presented at OSG sessions at AIC Annual Meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Objects Specialty Group Postprints, Volume Eight, 2001 have been edited for clarity and content but have not undergone a formal process of peer review. This publication is primarily intended for the members of the Objects Specialty Group of the American Institute for Conservation of Historic & Artistic Works. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the OSG or the AIC. The OSG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. STORAGE SYSTEM FOR ARCHEOLOGICAL TEXTILE FRAGMENTS Lisa Anderson, Dominique Cocuzza, Susan Heald and Melinda McPeek Introduction The holdings of the National Museum of the American Indian consist of approximately 805,000 archaeological and ethnographic objects from Native peoples of the Western hemisphere. -
Oversized Textiles Remember!
March 2013 Vol. 38, No. 2 Inside From the President 2 AIC News 5 Choreography and Team Annual Meeting 6 Treatments: Three (Very) FAIC News 6 Oversized Textiles Allison McCloskey, Associate Textile Conservator, Denver Art Museum JAIC News 10 The conservation of textiles can present unusual challenges, requiring Allied Organizations 11 practitioners to think of creative ways to meet the preservation needs of the object while navigating the interpretation goals, facilities, and Sustainability 12 budgetary limits of the institution or owner. When the objects in question are oversized, they often require inventive and untraditional COLUMN New Materials and Research 16 problem-solving approaches. The sheer physicality of oversized textiles SPONSORED BY T S G New Publications 16 is a challenge, as these objects are often without rigid support and may be weakened from deterioration. To prevent damage, the weight of a People 16 textile must be managed and supported in an appropriate manner throughout treatment as well as during handling, storage, and display. Below are summaries of three such treat- In Memoriam 16 ments, each using different approaches to meet the needs of the object within the given limitations. Grants & Fellowships 17 Willem de Kooning, Labyrinth Theater Backdrop Conservation Training Programs 18 In the spring of 2011, a large painted theater backdrop designed by Willem de Kooning arrived at Williamstown Art Conservation Courses, Conferences, & Seminars 22 Center in Williamstown, Mass., for examina- tion. Since the work was to be included in a de Positions, Internships & Fellowships 26 Kooning retrospective exhibit at the Museum of Modern Art, the goal was to ensure that the work was fit for display. -
MARGARET E. GEISS-MOONEY Costume/Textile Conservator
MARGARET E. GEISS-MOONEY Costume/Textile Conservator & Collections Care/Management Consultant 1124 Clelia Court, Petaluma, CA 94954 707-763-8694 [email protected] EDUCATION: Academics: M.S. Textiles, University of California, Davis. Advanced to Candidacy 1978 Thesis: Dye Analysis of a Group of Late Intermediate Period Textiles from Ica, Peru B.S. Textiles, University of California, Davis. September 1976 Coursework emphasized all aspects of textile science applicable to conservation of textiles and costume, including: Textile Chemistry Textile Fibres & Finishes Organic Chemistry Textile Dyeing & Printing Textile Maintenance Textile History & Design Analytical Techniques (chromatography, spectroscopy, microscopy) Community Emergency Response Team (CERT) Program certificate, City of Petaluma, March 2008 Internships: University of California, Davis Art Department Conservation Laboratory (1976 – 1978) Yolo County Historical Museum, Woodland, California (1977 – 1978) M. H. deYoung, Museum, San Francisco, California (1975) E. B. Crocker Art Gallery (now Crocker Art Museum), Sacramento, California (1974) Continuing Education: Ongoing attendance at AIC pre-conference courses and annual conferences, local and regional conservation group meetings and at the North American Textile Conservation Conferences (NATCC) Neighborhood Drycleaning Association: Theory & Techniques for Textile Conservators, January 1994 Getty Conservation Institute Refresher Course: Identification of Dyes on Historic Textiles, October 1985 McCrone Institute: Microscopy -
The Journal of the Walters Art Museum
THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 EDITORIAL BOARD FORM OF MANUSCRIPT Eleanor Hughes, Executive Editor All manuscripts must be typed and double-spaced (including quotations and Charles Dibble, Associate Editor endnotes). Contributors are encouraged to send manuscripts electronically; Amanda Kodeck please check with the editor/manager of curatorial publications as to compat- Amy Landau ibility of systems and fonts if you are using non-Western characters. Include on Julie Lauffenburger a separate sheet your name, home and business addresses, telephone, and email. All manuscripts should include a brief abstract (not to exceed 100 words). Manuscripts should also include a list of captions for all illustrations and a separate list of photo credits. VOLUME EDITOR Amy Landau FORM OF CITATION Monographs: Initial(s) and last name of author, followed by comma; italicized or DESIGNER underscored title of monograph; title of series (if needed, not italicized); volume Jennifer Corr Paulson numbers in arabic numerals (omitting “vol.”); place and date of publication enclosed in parentheses, followed by comma; page numbers (inclusive, not f. or ff.), without p. or pp. © 2018 Trustees of the Walters Art Gallery, 600 North Charles Street, Baltimore, L. H. Corcoran, Portrait Mummies from Roman Egypt (I–IV Centuries), Maryland 21201 Studies in Ancient Oriental Civilization 56 (Chicago, 1995), 97–99. Periodicals: Initial(s) and last name of author, followed by comma; title in All Rights Reserved. No part of this book may be reproduced without the written double quotation marks, followed by comma, full title of periodical italicized permission of the Walters Art Museum, Baltimore, Maryland. -
The Glass Palace Chronicle
1 THE GLASS PALACE CHRONICLE Patricia le Roy 2 Prologue LONDON October 1990 Everything was ready. She laid the syringe on the edge of the washbasin and stowed the instruments neatly away in her handbag. The sounds of voices and laughter filtered dimly down from the floor above. The party was in full swing. She had made the call from the basement storeroom five minutes ago. Even if Roland had heard the sound of the phone being replaced in its cradle, there was nothing he could do about it. The new exhibition had attracted a lot of attention and there were at least fifty people in the gallery. In any case, he had no reason to be suspicious. She brushed her hair carefully back from her face and applied fresh lipstick. Death was a friend: one should go to meet him looking one's best. There was a whole gram of heroin in the syringe, ten times the normal dose. She had left nothing to chance. She sat down on the closed toilet seat and rolled up her sleeve. Since she had made her decision two days earlier she had been conscious of a vast inner lightness, as if a weight had been lifted from her heart. Subconsciously she had known for a long time that this was how it would end. Heroin was another country: it had no frontiers. No one escaped. There was only one way to get free of it. She had tried five times to give it up and she was weary of struggling. Even if Philip hadn't been coming back next week, she might have done it now anyway. -
Curatorial Care of Textile Objects
Appendix K: Curatorial Care of Textile Objects Page A. Overview.......................................................................................................................................... K:1 What information will I find in this appendix?...... ............................................................................. K:1 Why is it important to practice preventive conservation with textiles? ............................................. K:1 How do I learn about preventive conservation? ............................................................................... K:1 Where can I find the latest information on care of these types of materials? .................................. K:2 B. The Nature of Textiles .................................................................................................................... K:2 What fibers are used to make textiles? ............................................................................................ K:2 What are the characteristics of animal fibers? ................................................................................. K:3 What are the characteristics of plant fibers? .................................................................................... K:4 What are the characteristics of synthetic fibers?.............................................................................. K:5 What are the characteristics of metal threads? ................................................................................ K:5 C. The Fabrication of Textiles ........................................................................................................... -
The Bayeux Tapestry Embroiderers Story PDF Book
THE BAYEUX TAPESTRY EMBROIDERERS STORY PDF, EPUB, EBOOK Jan Messent | 112 pages | 01 Jan 2011 | Search Press Ltd | 9781844485840 | English | Tunbridge Wells, United Kingdom The Bayeux Tapestry Embroiderers Story PDF Book Lists with This Book. Oxford University Press. The tapestry is a band of linen feet 70 metres long and Want to Read saving…. Is any historical primary source of information entirely reliable? Richard Burt, University of Florida. Reopening with new conditions: Only the gallery of the Tapestry is open, the interpretation floors remain closed Timetable: 9. The Latin textual inscriptions above the story-boards use Old English letter forms, and stylistically the work has parallels in Anglo-Saxon illuminated manuscripts. What's on? According to Sylvette Lemagnen, conservator of the tapestry, in her book La Tapisserie de Bayeux :. Hearing this news, William decides to cross the Channel in to reclaim his throne…. With a visit to the museum, you can discover the complete Bayeux Tapestry, study it close up without causing damage to it, and understand its history and how it was created thanks to an audio-guide commentary available in 16 languages. Rachelle DeMunck rated it it was amazing Sep 06, Open Preview See a Problem? Heather Cawte rated it it was amazing Apr 05, American historian Stephen D. The design and embroidery of the tapestry form one of the narrative strands of Marta Morazzoni 's novella The Invention of Truth. It required special storage in with the threatened invasion of Normandy in the Franco-Prussian War and again in — by the Ahnenerbe during the German occupation of France and the Normandy landings. -
Narrative Section of a Successful Application
Narrative Section of a Successful Application The attached document contains the grant narrative and selected portions of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the Preservation and Access Programs application guidelines at http://www.neh.gov/grants/preservation/sustaining-cultural-heritage-collections for instructions. Applicants are also strongly encouraged to consult with the NEH Division of Preservation and Access Programs staff well before a grant deadline. Note: The attachment only contains the grant narrative and selected portions, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Winterthur Sustainable Preservation Environment Project Institution: Winterthur Museum Project Director: Lois O. Price Grant Program: Preservation and Access Sustaining Cultural Heritage Collections 1100 Pennsylvania Ave., N.W., Rm. 411, Washington, D.C. 20506 P 202.606.8570 F 202.606.8639 E [email protected] www.neh.gov Abstract Winterthur Museum, Garden & Library is committed to lifelong learning in the humanities and to the sustainable preservation of the collections that support this mission. To this end, Winterthur requests a $350,000 NEH SCHC implementation grant as part of an $873,338 project to enhance the preservation of the collections and reduce collection-related energy costs.