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The Ardabil Carpet

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The Ardabil Carpet ISSN 096702273 P ublished by V&A Conservation V&A Conservation ublished by Conservation Journal Spring 2005 Number 49 £2.50 @ point of sale V&A Conservation Journal No.49 Head of Conservation PA & Dept Secretary Conservation Department Contents Fiona Campbell Sandra Smith Staff Chart Spring 2005 Editorial Board 1 Editorial Science Furniture, Textiles Paper, Books & Sculpture, Metals, Administration Sandra Smith Sandra Smith, Head of Conservation & Frames (FTF) Paintings (PBP) Ceramics & Glass & Information Head of Department (SMCG) Systems 2 Dating Alhambra stuccoes Nigel Bamforth Lucia Burgio, Object Analysis Scientist, Science Conservation Graham Martin Albert Neher Pauline Webber Alan Derbyshire Senior Furniture Conservator Boris Pretzel Furniture Paper Sculpture Tim Carpenter Lucia Burgio 4 Conservation of Houghton Hall textiles and Brenda Keneghan Christine Powell Merryl Huxtable Charlotte Hubbard Laura Jiggins Object Analysis Scientist furniture Lucia Burgio Shayne Rivers Victoria Button Sofia Marques Michelle Murray Sandra Smith, Head of Conservation Eoin Kelly Tim Miller Michael Wheeler Victor Borges Charlotte Hubbard Nigel Bamforth Susan Catcher Head Sculpture Conservator Lisa Nash (RIBA) Metals 7 Funding a collaborative conservation project: Textiles Diana Heath Fi Jordan the Mazarin Chest Lynda Hillyer Mounters Joanna Whalley Senior Ceramics Conservator Shayne Rivers, Senior Furniture Conservator Marion Kite Clair Battisson Sophy Wills Val Blyth Simon Fleury Donna Stevens Albertina Cogram Chris Gingell Katia Viegas Wesolowska Graham Martin 8 The Safavid Cope Frances Hartog Jon Privett Head of Science Marion Kite, Senior Textiles Conservator Susana Fajado-Hunter Books Gates Turner Elizabeth-Anne Haldane Jane Rutherston Michelle Murray Anja Bayer Karen Vidler Ceramics & Glass Conservation Administrator 11 The Ardabil carpet – a new perspective Annie Kwaspen Anne Greig (RIBA) Victoria Oakley Lynda Hillyer, Head of Textiles Conservation, Fi Jordan Mike Wheeler Boris Pretzel, Materials Scientist Frames Paintings Juanita Navarro Senior Paper Conservator Zoe Allen Nicola Costaras Amanda Barnes 14 Encounters with Paper Conservation: the treatment Designed by V&A Design Stained Glass of a Chinese painted silk dress Sherrie Eatman Photographs are credited individually Elizabeth-Anne Haldane, Textile Conservator Ann Marsh Daniella Peltz All enquiries to:- 17 An insight into the craftman's techniques Conservation Department Katia Viegas Wesolowska, Metals Conservator Victoria and Albert Museum Internships Visiting Researchers London SW7 2RL, UK Furniture Titika Malkogeorgou Telephone +44 (0)20 7942 2133 20 William Blake’s only surviving palette? Dr Joyce H Townsend, Senior Conservation Scientist, Tate, Miho Kitagawa Fax: +44 (0)20 7942 2092 Paintings e-mail [email protected] Dr Bronwyn Ormsby, Conservation Scientist, Tate, Lara Wilson Dr Julia Jönsson, formerly Conservation Scientist, Tate, The V&A Conservation Journal is an Dr Mark Evans, Senior Curator of Paintings, Victoria and informal publication and references in Albert Museum Students articles are discouraged. Readers may Surface Studies Sculpture Natural History contact authors for further information Marie Vest, PhD Anna Kagiadaki, MA Melissa Gunter, MA via the e-mail address above 22 New Staff and Interns (with Natural History Historical/Technical Study Conservation Science Museum) Staff Chart Allyson McDermott, MPhil Konstantinos Ntanos, MA RCA/V&A Conservation Timea Tallian, MPhil (with British Museum) Ethnographic Materials William Lindsay (RCA) Naomi Luxford, MA Heidrun Gassner, MA Alison Richmond (V&A) Modern Jewellery (with English Heritage) (with Horniman Museum) Alison Bracker (RCA) Cordelia Rogerson, PhD Tsing-Young Dora Tang, MSci Vincent Daniels (RCA) (with Imperial College) Paper Joanna Baden (RCA) Books Clair Walton MA Furniture Harriet Standeven (V&A) Karen Vidler, MPhil (with Theatre Museum) Katja Tovar, MA Textiles Barbara Schertel, MA Metalwork (with other Alice Cole, MA materials) Hazel Arnott, MA History, Ethics & Management Louise Parris, MA Key (with Historic Royal Palaces) Helen Evans, MPhil Front Cover image: Chinese painted silk dress Photography by Elizabeth-Ann Haldane Senior Management Team V&A Journal No.49 Conservation V&A Journal No.49 Conservation Editorial Dating Alhambra stuccoes Sandra Smith Lucia Burgio Head of Conservation Object Analysis Scientist, Science Conservation A New Year and new challenges ahead! Pigment analysis was requested by Victor Borges, The end of 2004 saw a rush to complete galleries: Every new year offers new challenges, but with no V&A Senior Sculpture Architecture, Domestic Metalware, The Gilbert Bayes appreciable increase (in real terms) of the Grant in Conservator as an aid to Sculpture Gallery; the closure of Dresser and Aid that the Museum receives, this year will dating. Samples of the Encounters; the couriering of Westwood to Canberra; certainly be more challenging than the last. Finding pigmented areas of the the opening of Art Deco in Boston and a major loan ways to deliver work from exhibitions, loans and stuccoes were first of exquisite Diaghilev ballet costumes conserved gallery displays whilst also allocating time to analysed by Raman and mounted for display in Groningen, Netherlands. preserving the reserve collections, is causing us to microscopy, a non- Barely had we all drawn breath, taken part in the in- look increasingly for external funding to support destructive, non-intrusive house and traditional pantomime (with Conservation conservation projects. This is bringing new skills to technique which is taking starring roles) and imbibed at the Museum the Department but making an application involves Borges Victor by Photography particularly suitable for the Christmas party then we were hurtling along into a considerable amount of preparation, preliminary identification of pigments the new year. Preparation is now underway for the work, and negotiation to meet funding criteria and Figure 1: (Figures 2 and 3). The stucco panel Jameel Gallery of Islamic Art with the Ardabil carpet the timescales and deadlines within ones own A.171-1919, Subsequently, the samples in the process of being redisplayed horizontally for institution, without any assurance of ultimate size 17 x 34 cm. were mounted as dispersions and the first time in over 110 years (Hillyer & Pretzel); success. Happily, the Department has been examined by polarised light Conservation scientists, conservators and art 2 the Sacred Silver and Stained Glass gallery will successful in securing funds for the conservation historians can often obtain useful clues for the microscopy. The identification of the pigments contain many beautiful objects and will challenge of the Mazarin Chest (Rivers) and Houghton Hall dating and authentication of art objects by present on the stucco fragments as well as the traditional methods of stained glass display within collections (Smith). Both are long term projects, identifying the materials used on them. For example, evaluation of the shape and size of the pigment the Museum; preliminary work has already begun which bring with them opportunities of partnership particles provided clues about the date of the when pigment analysis is carried out on a museum 3 for the Medieval and Renaissance galleries. and new relationships with other conservation object, it can reveal the presence of date-marker fragments (Table 1). professionals. They have also resulted in stronger This Journal picks up on some of the interesting compounds, i.e. materials which have a first date of Traditional materials were detected on four stucco relationships within the V&A as different departments challenges and discoveries presented to the manufacture or, for other reasons, are unlikely to fragments supposedly still covered by the original have come together to support the application. have been used for the decoration of a work of art Department at the close of last year. Elizabeth- decoration. When mercury(II) sulfide (HgS, also called produced at a particular time and place. This concept Anne Haldane discusses how one painted dress The progress of these projects, together with that vermilion or cinnabar) was detected and identified is exemplified by the analysis of five painted stuccoes brought together skills of both textiles and paper of the Messel collection (Theatre Museum) and the by Raman microscopy, its particles examined by from the Victoria and Albert Museum’s collection of conservators. Research into an object for the Daily Mail Archive which are two other projects polarised light microscopy showed an irregular medieval Hispano-Islamic panels (Figure 1). The Architecture Gallery (Burgio), highlights the which have attracted external funding, will be distribution of shape and size, as well as the presence stuccoes are from the Alhambra Palace in Granada, invaluable role that conservation scientists make tracked through the V&A website over the next few of striations on some of the biggest particles. These Spain, and supposedly date from the fourteenth in verifying, or challenging, perceived opinions years. In all instances the projects will result in a 1 features indicate that the red pigment is either of century. of parts of the collection, whilst the article by collection becoming more accessible and more fully mineral origin, in which case it is more accurate to refer to it as cinnabar, or it is of synthetic origin, Townsend highlights that science alone will understood and some will move professional Panel
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