£2.50 @ point of sale onservation Journal onservation utumn 2004 Number 48 C A

Published by V&A Conservation ISSN 096702273 V&A Conservation Journal No.48 Head of Conservation PA & Dept Secretary Conservation Department Contents Fiona Campbell Sandra Smith Staff Chart Autumn 2004

Editorial Board 1 Editorial Science Furniture, Textiles , Books & Sculpture, Metals, Administration Sandra Smith Sandra Smith, Head of Conservation & Frames (FTF) Paintings (PBP) Ceramics & Glass & Information Head of Department (SMCG) Systems 2 A souvenir from Guangzhou Charlotte Hubbard Graham Martin Albert Neher Pauline Webber Alan Derbyshire Head Sculpture Conservator Pauline Webber, Head of Paper, Books & Paintings Conservation Boris Pretzel Furniture Paper Sculpture Tim Carpenter Fi Jordan Brenda Keneghan Christine Powell Merryl Huxtable Charlotte Hubbard Laura Jiggins Senior Ceramics Conservator 5 Conservation Department Seminar report Lucia Burgio Shayne Rivers Victoria Button Sofia Marques David Thickett, Senior Conservation Scientist, English Richard Kibrya Tim Miller Michael Wheeler Victor Borges Graham Martin Heritage Eoin Kelly Nigel Bamforth Susan Catcher Head of Science Lisa Nash (RIBA) Metals Textiles Diana Heath Mike Wheeler 6 An away day to Belgium – washing tapestries Lynda Hillyer Mounters Joanna Whalley Senior Paper Conservator Frances Hartog, Senior Textiles Conservator Marion Kite Clair Battisson Sophy Wills Val Blyth Simon Fleury Donna Stevens Designed by V&A Design 8 Yomeimon of Toshogu Albertina Cogram Chris Gingell Katia Viegas Wesolowska Frances Hartog Jon Privett Nigel Bamforth, Senior Furniture Conservator Photographs are credited individually Susana Fajado- Hunter Books Gates Turner Lara Flecker Jane Rutherston Elizabeth-Anne Haldane Anne Greig Ceramics & Glass All enquiries to:- 10 Nasrid plasterwork: symbolism, materials and Anja Bayer Karen Vidler Victoria Oakley Conservation Department techniques. Annie Kwaspen Fi Jordan Victoria and Albert Museum Victor Borges, Senior Sculpture Conservator Paintings Juanita Navarro London SW7 2RL, UK Frames Nicola Costaras Amanda Barnes Telephone +44 (0)20 7942 2133 13 Mixed media object: large and fragile structure. Zoe Allen Fax: +44 (0)20 7942 2092 Sofia Marques, Sculpture Conservator Stained Glass e-mail [email protected] Sherrie Eatman Helen Bower The V&A Conservation Journal is an 16 Planning and estimating informal publication and references in Nick Umney, Director of Collections Services Division, articles are discouraged. Readers may Tim Carpenter, Conservation Information Systems Manager, contact authors for further information Sue Ridley, Head of Technical Services Internships Visiting Researchers via the e-mail address above Furniture Titika Malkogeorgou Miho Kitagawa 18 RCA/V&A Postgraduate Conservation Programme Textiles Alison Richmond, Deputy Head, RCA/V&A Conservation Gordana Car Paper Melanie Nief Students 22 New Staff and Interns Paintings Surface Studies Textiles History, Ethics & Management Ailke Schroeder Charis Theodorakopoulos, Alice Cole, MA Maria Troupkou, MPhil PhD Hazel Arnott, MA Helen Evans, MPhil Staff Chart Marie Vest, PhD (with Historic Royal Palaces) Natural History Historical/Technical Study Sculpture Melissa Gunter, MA RCA/V&A Conservation Allyson McDermott, MPhil Anna Kagiadaki, MA (with Natural History William Lindsay (RCA) Timea Tallian, MPhil Museum) Alison Richmond (V&A) Conservation Science Alison Bracker (RCA) Modern Jewellery Konstantinos Ntanos, MA Ethnographic Materials Vincent Daniels (RCA) Cordelia Rogerson, PhD (with British Museum) Heidrun Gassner, MA Naomi Luxford, MA (with Horniman Museum) Joanna Baden (RCA) Computer Visualisation (with English Heritage) Harriet Standeven (V&A) Nicholas Frayling, PhD Tsing-Young Dora Tang, MSci Paper 9with Imperial College) Clair Walton MA 20th Century Materials (with Theatre Museum) Fotini Koussiaki, PhD Furniture (with Tate) Katja Gruber, MA Metalwork (with other Front Cover image: Architectural model of the Shrine & Key Barbara Schertel, MA materials) Mausoleum Gate of Yomeimon of Toshogu. (W.5-1918) Louise Parns, MA Photography by Ian Thomas, V&A Photographic Studio Senior Management Team & Conservation Journal No.48 V&A & Conservation Journal No.48 V&A

Editorial A Souvenir From Guangzhou Sandra Smith Pauline Webber Head of Conservation Head of Paper, Books & Paintings Conservation

1 Earlier this month I went to the UKIC conference, Autumn heralds a new intake of students for the A selection of approximately 200 Chinese export Out of the V&A’s collection of 50 boat paintings, 30 ‘Working with the Project Culture’, in Liverpool. The RCA/V&A Conservation MA course and their paintings from the V&A’s collection were exhibited at were selected for exhibition. They illustrate the great various highlighted the need for biographies, together with those of contract staff the Guangzhou [formerly Canton] Museum of Art in variety of mainly riverboats in use in the late conservators to be able to understand their role and interns, show how departmental numbers are from 28 September 2003 to 4 January 2004. eighteenth and nineteenth centuries. Transport by within a project team, and to contexualise swelling even if it is only for a short time. river and sea was the most important means of Very few export paintings of this type remain in the conservation within a project culture. Organisations connecting Ghangdong Province with other coastal Sadly, this is also the point for saying goodbye to collections in Guangzhou; consequently they are such as the National Trust, English Heritage and cities of China. There were many shipyards in port some members of the Department; Maria Walklin, regarded with great interest by Chinese scholars as Historic Royal outsource much of their work to cities such as Guangzhou and so boats were a Production Editor of the Conservation Journal has an invaluable documentation of the history, activities private conservation studios and have therefore popular subject matter. They were named according left the Museum and her skills have already been and socio-cultural exchanges that took place around become quite adept as predicting and costing to their shape, function, place of origin or the cargo missed by the editorial team, who she kept on the the Pearl River Delta during the eighteenth and conservation within a project. National museums, they carried. The Duck Boat (Figure 1) was used straight and narrow with remarkable patience. The nineteenth centuries. The paintings were produced in like the V&A, whilst increasingly working within a to transport ducks whilst the Flower Boats, a second goodbye is to Jonathan Ashley-Smith. the port cities of China and became popular souvenirs project culture lag behind our colleagues in these euphemism for floating brothels, were elegantly Although he technically left the Conservation sold to western travellers and merchants. They project planning skills. The Collections Services decorated boats moored permanently, with Pimp Department in 2002 to join the V&A Research represent the images of Chinese culture taken back to Division has taken a leaf out of project Boats that ferried the clients to and fro. Department, he remained in contact with the West in an age that pre-dated photography. management practice by creating an estimating Conservation, always offering support and advice. Appropriately, the exhibition was entitled Souvenirs The paintings of the ‘One Hundred Occupations’ were tool to predict resource requirements across the His work for the Museum, the Department and the from Canton. executed on thin, good quality Chinese xuan paper, Division from known and comparable data. Nick made from the fibre of the than tree. It was first sized conservation profession has been outstanding and During the eighteenth century no visit to Canton was Umney, Tim Carpenter and Sue Ridley explain how with alum and animal glue and after drying, brushed we will all miss seeing him around the Museum. complete without purchasing some artwork from one this tool evolved and how it can be used to assess with a lead white (lead sulphide) ground. The images Our best wishes to them both for a happy and of the new painting studios in New China Street. the impact of projects on the divisional work load of the traders were traced from other copies or successful future. Watercolours had an added attraction because they and to negotiate for additional resources. copybooks, possibly with a metal stylus. The outlines were of a convenient size, were relatively inexpensive, were filled in with colour and details added later. Though we may need to evolve the planning and could be bound into albums and books for ease process, involvement with projects is very much part of storage and display. The artists worked in both of our lives. Pauline Webber’s article shows the transparent and opaque colour on a surface of European 2 conservation input into an international project, or Chinese paper, as well as silk, ivory and pith . Nigel Bamforth gives an insight into the fascinating project that we have been undertaking with the The paintings exhibited in Guangzhou date from RIBA on their architectural models and plans and the second half of the eighteenth century, the V&A Victor Borges and Sofia Marques add their possessing very few from the first half of the century. knowledge to the development of this new gallery. The subjects include boats, trades, birds, flowers, Amid this we have been trying to share insects, musical instruments, merchants, tea and silk production, and porcelain manufacture. development in joint research initiatives through a departmental seminar, and we are grateful to David Out of the ‘One Hundred Occupations’ series, an Thickett of English Heritage for providing an important part of the collection, 53 were selected, external review of the day. illustrating the trades and occupations of Canton. They were acquired in 1898, not for their artistic content, but as pictorial documentation of the 3 ‘industrial arts’ . The variety of street activities and traders that could be seen at the time are illustrated- including cobblers, wok-menders, dumpling-sellers, glass grinders, porcelain repairers and street theatre performers. Photography by V&A Photographic Studio V&A Photographic by Photography Figure 1. Duck boat (8655:28), watercolour on paper

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When the paintings were removed from their poor inherently native, thus embracing aspects of both open-weave canvas. The sides of the painting and the Before the opening, we were treated to a day's quality mounts, Chinese inscriptions at the bottom of western and Chinese traditional painting. They protruding canvas were bound with strips of marbled excursion with colleagues from the Guangzhou each sheet were discovered. Large areas of the paper combine native vegetable colours such as indigo and paper (Extra & Spanish Drag pattern 1850-1890), Museum of Art, Macau University and the Chinese that had been masked by the mounts revealed that madder red, and mineral colours, including azurite often extending over the edge of the painting. There University in Hong Kong. We boarded a boat and the white lead carbonate ground had become blue, malachite green, cinnabar red, and lead white. is clear evidence from the pattern of dirt and damage travelled the old trade route along the Pearl River! blackened. A decision was made to treat some of the Although many botanical paintings in the collection that these paintings were removed from strainers The opening of the exhibition was celebrated in most disfigured areas. The Gortex™ and hydrogen are on Chinese paper, there are a number on and may previously have been displayed as framed grand style with ribbon cutting, firecrackers, peroxide method was used to alter the black lead watermarked paper made in England by J. Whatman pictures. Underneath the marbled paper was a streamers, speeches and gifts, followed by a series of 4 white back to white . The most damaged of these and dated 1812 and 1821. painted blue border 1.5cm wide on the canvas lectures and a lavish banquet of many courses. paintings were lined with a thin kozo Japanese framing the painting. This is more in keeping with Subject matter such as porcelain manufacture, tea The magnificent exhibition catalogue brings together mulberry paper, while others where flattened to other contemporary export paintings, such as pith growing and harvesting, and silk production was scholarship from the V&A, the Guangzhou Museum remove creases and indentations caused from paintings, which generally have borders of blue silk, often produced in sets of 12 or more sheets and these of Art, the Guangzhou Museum, Sun Yat Sen previous mounting methods. or paintings of similar subject matter and technique were very popular between 1785 and 1820. The loan University and the South China Institute of Botany. incorporated into schemes like those at The boat pictures were painted in gouache-type included a set of 12 paintings depicting tea The exhibition curator was Ming Wilson from the Saltram House in Devon. I have also seen a set pasted colours (pigment bound with animal glue and some production, (Figure 2) 20 paintings of porcelain V&A Asian Department. It was organised by the V&A, similarly onto canvas and fixed onto wooden colours mixed with lead white) onto a very thin manufacture, and a set of 16 watercolours illustrating the Guangzhou Cultural Bureau and the British strainers with paper mache frames. It could be that Chinese paper. Due to the fragile nature of the stages of silk production. Council, and was sponsored by Swire Properties Ltd, they were prepared this way in Canton, since after the paper and losses and tears to the edges of the Cathay Pacific Airways, and Mr and Mrs Edwin Davies 1780, many of the water-colourists also painted in sheets caused by inappropriate mounting methods OBE. The exhibition was the first joint venture oils, and so straining up canvas on a stretcher would some 50 or 60 years ago, it was decided to line each between the V&A and the Ghuangzhou Museum and have been a familiar technique. Most of these painting. The colours used in the paintings were was met with great enthusiasm. The Guangzhou paintings were in fair condition, but in the past had extremely sensitive to water and so, to minimise risk Museum sees it as a landmark in their activities and been displayed unglazed. They were dulled by to the work, a treatment programme was devised to it is hoped that it may encourage further exchanges ingrained and surface dirt which, after removal with control the amount of water used in the various between the two museums in the future. chemical sponge and soft grated erasers, revealed processes. The procedure involved flattening, blue skies, pink sunsets and green leafy landscapes. References removing discolouration, lining, drying and pressing between felts and boards. The lining was later The paintings of silk, tea and porcelain manufacture 1. The term only came into use after 1949. Wilson, Ming, Bridging China & The West - Chinese Export Art in the V&A trimmed down to approximately 5cm and the are interesting in that they are accurate in their paintings hinged into new mounts. depiction of technical detail, but are set in fanciful 2. The inner pith of the tree Trexapanx Papyrifera (in Chinese Tongacao) and frequently incorrectly called “”. and idyllic surroundings far removed from the Sixty paintings depicting birds, insects and plants realities of where they would have been produced. 3. Clunas, Craig, Chinese Export Watercolours, V&A were exhibited. Botanical subjects represent an Porcelain, for example, was manufactured in a town Publications, 1984 important category in Chinese export painting. The five hundred miles north of Canton. Perhaps the 4. Derbyshire, Alan, Hydrogen Peroxide and Gortex. Paper V&A collection of flora painting spans the period artists wished to present an idealised setting in order Conservation News, No 67, 1993 between 1770 and 1840, and the exhibition presented to appeal to the European imagination. 5. An organisation producing paintings for the Song the opportunity for some of them to be studied by Figure 2. Transporting tea by river (D.355-1894), watercolour on paper Dynasty (960-1279). It stressed the importance of form- the South China Institute of Botany, Chinese The majority of the paintings underwent some likeness and included paintings in imitation. Yin, Chen, Academy of Sciences. The flora paintings were conservation treatment and all were remounted. In Guangzhou Museum of Art Exhibition Catalogue pp64-69 produced primarily for technical study in a standard The porcelain manufacture paintings are executed the museum’s large exhibition space, they were format, to include the subject with branch, leaves and with gouache-type colours on to a xuan paper displayed in cases without frames using simple blossoms. These paintings, categorised as belonging prepared with a ground of lead white, alum and Perspex clips to hold them in place. The curators and 5 to the yuanti (Academy) style , were produced by animal glue. Some areas are glazed, possibly with technical staff were all extremely helpful and traditionally-trained artists. Whilst it is thought some vegetable gums, to add depth and richness to the generous. Indeed, on the first day of installation it guidance may have been received from the European paintings. Several steps of the manufacturing process seemed as if the whole museum staff was inside the customers in rendering the subjects as true to life as are often depicted on one sheet. Each painting has long wall-cases, measuring and fixing. The display possible, they still contain elements that are been pasted onto a secondary support of coarse, system, however, was uncomplicated and the exhibition was installed smoothly.

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Conservation Department Seminar report An away day to Belgium-washing tapestries David Thickett Frances Hartog Senior Conservation Scientist, English Heritage Senior Textiles Conservator

The Victoria and Albert Museum hosted a joint The changes to the software are however both On a bright sunny day in June the Textile Conservation mechanical action in the form of sponging was meeting with the Institute of Conservation Science obvious and significant. The most fundamental being Section set off on an away-day to Belgium to witness essential. In order for the whole surface of the on 5 May 2004. Over 50 people attended the a CAD type system of scalable maps to view and the washing of a tapestry. The process was being tapestry to receive the same treatment, the tapestry meeting, which consisted of a series of five interrogate the sensors. This moves beyond the carried out in a specially designed facility using an would be rolled on a roller in the bath as the presentations on three topics. present limitations of the map views with large innovative system that we hope to employ on objects sponging progressed across its entire surface. To galleries/buildings. Such a large-scale system will for the new Medieval & Renaissance Galleries. lessen the amount of rolling, some studios invested Hannalore Römich gave an introduction to the LiDo require considerable resources to ensure the sensors in specially designed gantries from which sponging (light dosimeters) project (EVK4-CT2000-00016) that One of the objects chosen for the galleries is a are calibrated (which is all too often overlooked for could be carried out. However, it was still necessary to has developed the Lightcheck dosimeters over the tapestry from the ‘The War of Troy’ series woven in monitoring systems) and functioning properly. The roll the tapestry to clean the bath between washes past three years. Two light dosimeters have been Tournai 1475-90, in wool and silk and measuring 4.13 x V&A have negotiated a contract with Hanwell to and rinses. Though this method of washing is highly developed - Light Check Sensitive, LCS, for light doses 6.80m. Over the years it has suffered a noticeable undertake this work. It was interesting to note that efficient at soil removal, there are drawbacks. up to 100,000 lux hours and Light Check Ultra, LCU amount of damage and been poorly repaired. Indeed keeping the system maintained will cost almost as for doses up to 400,000 lux hours. Each dosimeter it has been cut into seven pieces and rejoined. Its Using this method the tapestry undergoes much as the initial system cost over five years and comes with a ‘calibration’ card to enable the light condition could be categorised as ‘fair’ to ‘poor’ and considerable physical stress as it is repeatedly rolled refreshing to see ‘lifetime’ costs built into a project. dose to be read from it by eye. The LCU and LCS before it can be hung for display it is in need of full and re-rolled in its vulnerable wet state. The sponging mainly respond to light, but are influenced by light The widespread availability of the data within the conservation treatment. The first phase of treatment inevitably dislodges damaged weft yarns and areas of source, temperature, relative humidity and the V&A drew some comment after the presentation, will be dedicated to cleaning, including washing. The weak silk frequently suffer loss. It is a lengthy process oxidising pollutants nitrous oxide and ozone. They do with questions about who had responsibility for fragile condition of the tapestry and the relatively taking on average 10 to 12 hours. At the end of the not respond to UV. Issues of quality control and acting when conditions moved outside those set for recent developments in wet cleaning, led us to wash the tapestry is blotted and laid out to dry. production were discussed by Ron Buxton of Particle a particular gallery or display case. Clear lines of re-evaluate past methods. Drying can take anywhere between 12 to 24 hours, Technology Ltd., the company manufacturing the responsibility for reaction to ‘out of limit’ situations any fugitive dyes in the tapestry or repairs (it is usual In the past, tapestries were most commonly washed dosimeters. The LCU dosimeters are presently need establishing for any monitoring system of for tapestries to have undergone generations of in temporary baths made up in a large enough space available at ¤40 for five, with LCS presumably controlled areas and higher tech solutions do not repair over the centuries) have plenty of time to for them to lie out flat. The baths were constructed available in the near future. The dosimeters have overcome this basic requirement. migrate into neighbouring yarns. As the soiling is from polythene sheeting with plastic drain pipes for many obvious uses, but will need to compete with released into the bath there is a possibility of re- Oliver Stahlman described the European Cultural the sides. Large quantities of softened and de-ionised the established blue wool standard methods, whose deposition. The complete immersion of the tapestry Heritage Network website (see www.echn.net/echn/). water were required on tap, as was adequate use has been pioneered by the National Trust. They for lengthy periods, though very effective at soil This is funded by Cologne University and provides drainage. This system allowed for the complete are extremely useful to rapidly assess a location for removal, results in the swelling and realignment of tools for communication, file sharing and project immersion of the tapestry during the washing and display and have already been used for this by the the fibres which can cause dimensional change. management between researchers on a project and rinsing processes. To facilitate efficient soil removal, author. More detail on the LCS and LCU dosimeters is for public dissemination of information from that available at www.lightcheck.co.uk . project. The system allows both public and private Boris Pretzel and Martin Hancock reported on the areas with seven different levels of access and seems development of the OCEAN project at the V&A and to be a much more user-friendly version of that used the new generation of Hanwell radio sensors and by many EC projects. The software appeared to software developed for this project. The extremely provide several easy to use tools, to allow file sharing large scale of the monitoring planned (over 800 and controlled updating, news, and dissemination of sensors) has lead to some major developments in graphics. As work becomes more collaborative to the hardware used. As is often the case in such work, spread costs and risk amongst institutions, this these impressive improvements will not be obvious approach seems an easy and very practical way to to the user who will only see a working system, but manage communications for projects between the auto-registration function for sensors will be partners in several locations. appreciated with those users with large systems.

Figure 1. The ‘Gang’ on arrival in not-so-sunny Belgium.

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Yomeimon of Toshogu Nigel Bamforth Senior Furniture Conservator

The aerosol/suction combination creates a very craftsmen, were generally complete. The losses to the even and intense cleaning system with the antlers, lions, dragons and intricate miniature joinery advantage of the entire tapestry being treated were more intrusive. Finger imprints found on the first simultaneously.The continuous flow through floor had clearly etched into the translucent lacquer the tapestry means dirt is loosened from the surface, sustaining unacceptable surface damage. fibres efficiently and then immediately drawn The loss of roof tiles away avoiding the danger of re-deposition. affected the overall There is no movement of the tapestry, therefore appearance of the no mechanical damage from manoeuvring a model where vertical wet textile can occur.The tapestry is never timber beams are completely immersed in water thus avoiding overlaid with copper dimensional change or shrinkage. sheet to simulate tiles The pH, conductivity and temperature (Figure 2). Powdery readings are displayed on a television monitor. discoloration on the Figure 2. Paper towelling being unrolled over a tapestry during the drying process. The client is presented with the graph of the ridges and flat tiles was readings, a very useful piece of documentation, and a caused by bird by Nigel Bamforth Photography Figure 2. Roof section showing losses of tiles Photography by Ian Thomas, by Ian Photography V&A Studio Photographic The alternative system that we visited in Belgium is DVD of the entire procedure which has been filmed Figure 1. Gate of Yomeimon of Toshogu excrement. Minor housed in, and operated by, the De Wit Royal via a roving digital camera attached to a bridge. corrosion was evident on the metal mounts located on Manufacturers in Mechelen. Set up in 1889 to During washing, any part of the tapestry can be There were a great many models conserved for the beams and brackets, affecting blemishes on the surface. manufacture and restore tapestries, their washing examined in close up through this camera. Architecture for All Gallery, but none is more intricate The ground floor polychrome ceiling was in perfect experience therefore stretches back for more than a than that of the Shrine and Mausoleum Gate of During drying there is continuous suction. Towelling is order, having sustained no deterioration from dust and century. About 13 years ago they developed an Yomeimon of Toshogu, built for the founder of the unrolled over the tapestry’s entire surface, covered movement. The carved interior panels, due to innovative new system which uses a combination of Tokugawa Shogunate (1603-1868) (W5-1918) (Figure 1). with polythene and left for a few minutes. The process dislocation, had surface abrasions. The loss of the aerosol spray and vacuum suction. It is fitted with The splendour of Japan’s greatest architecture was is repeated. Finally the towelling is replaced by temple guards aesthetically affected the visual integral sensors to control pH, temperature, water replicated in scale and detail, testifying to the skills of absorbent paper. After blotting the tapestry is left statement of the temple, a dominant force presiding flow and pressure. the nineteenth-century craftsman. The model was uncovered with the vacuum on. The air being displayed at the Japan British Exhibition 1910 at the over the whole. The facility consists of an enclosed chamber with circulated through it is pulled in from outside, filtered 1 Great White City, Shepherd’s Bush, London. Treatment glass panels. The base is a large suction table 5 x 9m. and heated to 30˚C before use. After use it is extracted The structural treatment needed to stabilise the object Ranged across the ceiling are 45 aerosol sprays back outside. The substantial model (85 x 65 x 45cm) is constructed required the total dismantling of the architectural approximately 1.75m above the platform. During the of a series of platforms, each supporting the next, The whole process takes approximately eight hours structure. Brass rods rise uppermost through the plinth cleaning process the tapestry is held in place by terminating with the roof load. The galleried first floor, including the drying. The speed of the process and to screw into the roof beams allowing stability for the continuous suction. When the aerosol is turned on the borne upon columns, exemplifies the fine quality of continuous suction avoids the danger of fugitive dyes separation of the construction levels. By gaining access whole chamber fills with almost weightless micro- the urushi lacquer employed in the model. The migrating. For the historically important Troy tapestry to the interior, it enabled a thorough survey of the bubbles of water vapour which are drawn down intricately carved tableaux set within the gallery rails, which is pieced and heavily repaired with numerous construction methodology to be recorded. On close evenly through the entire tapestry. A low depict scenes from Japanese mythology and are painted patches, this system would appear to offer a inspection areas of architectural losses were revealed, concentration of a non-ionic detergent is introduced decorated with water based pigments. Copper deposits very safe, controllable and, most importantly, effective enabling an identification process to be undertaken to the aerosol system for as long as is deemed found at Ashio, south-west of Nikko, used on the method of wet cleaning. and a systematic component replacement schedule necessary for soil removal. This is replaced by softened celebrated mausoleum are reproduced on the model’s 2 to proceed. and then de-ionised water during the rinsing process. The National Trust have been using De Wit to clean a copper roof tiles. In cases of extreme soiling sponging can be carried number of tapestries each year since 1996. Notably, Condition A gentle vacuuming was undertaken to remove visible out from a gantry.The tapestry is still held under the Hardwick Hall tapestries with a particular type of The general structure, although retaining some surface dust. Working from the plinth upwards, major suction whilst being sponged, therefore there is no black, sticky soiling that is extremely difficult to stability, had suffered approximately two hundred horizontal shrinkage across the floor was filled with possibility of movement which would result in remove. They have been very satisfied with the results losses. A great many detached and fractured pigmented (carbon black) Fine Surface Polyfilla damage to weak areas of silk. and encouraged us to “go and see for ourselves”. architectural components were fortunately preserved (emulsion of poly (vinyl alcohol), poly (vinyl acetate), Armed with away-day tickets from London to in the V&A’s stores. Detached screens, doors, fencing ethers and mineral fillers). The carved screens Mechelen - we did. and brackets, all elements undertaken by various located on the ground floor within the guards’ quarters

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Nasrid plasterwork: symbolism, materials and techniques Victor Borges required the removal of dust with a squirrel brush. A Senior Sculpture Conservator gentle surface clean with saliva-moistened swabs removed surface dirt. As part of the display for the new Architecture red), a world of luxury and comfort, obtained through a Photography by Justin McMorrow Photography Gallery, and to represent the art in architecture combination of splendid architecture and formally To remove the finger imprints, a fine cotton t-shirt cloth Figure 3. Figures cast in polyester within the Spanish Islamic style, five fragments of designed gardens with numerous fountains and pools. was dampened with Stoddard solvent (white spirit) via both halves of the mould were quickly assembled and plasterwork from the Alhambra Palace of Granada The main architectural features within the buildings are a pipette, the lacquer surface was lightly wiped in 5cm held together (Figure 3). The beard was removed from (Spain), were selected from the V&A Collection. These ceramic mosaics, plasterwork and carved wooden areas. The heavy imprints were treated with de-ionised one figure to comply with the original, the details fragments date from the fourteenth century when ceilings all profusely decorated, reflecting the Islamic water using the same method. drawn in pencil and painted in acrylic artist’s paint. The Nasrid art was at its most splendid. This article, based tendency to cover all surfaces with complex ornaments 1 The metal mounts were cleaned with Shellsol A body armour and floral decoration on the trousers were on the analysis of samples taken from mortars and (Horror Vacui), and blended together with subtle light (aromatic hydrocarbon) and reapplied to the joinery coated in yellow oil-based paint and gilded using tinted paint layers and on observations during conservation effects, carpets, curtains and hanging textiles. where necessary using Paraloid B-72 in acetone. All oil size. The gilded surface was distressed using acrylic treatment, forms an introduction to traditional Nasrid plasterwork covers almost every single surface loose and unstable roof tiles were re-attached with pigments and airbrushed with a fine spray of white materials and techniques used in Nasrid plasterwork of walls, arches, vaults and ceilings, gaining an almost Canadian fish glue. Original roof and ridge tiles and acrylic paint (Figure 4). as well as explaining their style and symbolism. textile quality through their intricate ornament and gilded ridge elements were re-located and glued in The first Islamic invasion of the Iberian peninsula vibrant palette of colours. Its almost overwhelming place. The tiles were surface cleaned with Shellsol A occurred in 711 AD; three years later almost the whole appearance is the result of the interconnection and applied on swabs, taking care not to affect the Iberian territory was under the rule of Berber troops. superimposition of different ornamental elements: patination. The occupation lasted almost eight hundred years, calligraphic inscriptions, geometric lazo, ataurique The loss of approximately 40 tiles distracted from the giving place to one of the most extraordinary periods and mocárabes. overall appearance. Replacements were created from a of art and culture in medieval The calligraphic inscriptions copper sheet milled down to 25mm thickness, cut into Europe. Al-Andalus, the name found in the Alhambra the required lengths and formed around dowelling. given to the occupied Iberian correspond to two different Tests were carried out on copper sheet to replicate the territories, was slowly re- styles: Kufic (dry style) and tile patination. A solution of 5g copper sulphate, 20g conquered by the Christian Nashkhid-Thuluth (cursive sodium chloride, 2g potassium sulphide in 20ml de- Kings through the centuries. style). Kufic calligraphy, which

ionised water was applied by brush prior to gluing the Thomas, by Ian Photography Studio V&A Photographic However it was not until 1492 usually refers to quotations replacement tiles in place. Figure 4. Figures re-instated within the model that the Catholic Kings finally from the Holy Koran, consists of conquered the last standing The missing temple guards were reproduced by Justin a combination of square and Conclusion Muslim kingdom in Europe, McMorrow, Senior Conservator, National Maritime angular lines with bold circular The conservation treatment aimed to preserve the Granada, ruled at the time by Museum. One figure was modelled in plasticine, forms. When applied to original decorative order. It was felt inappropriate to the Nasrid dynasty. working from monochrome photographs of the original plasterwork it tends to form replace the losses of the carved gallery tableaux as no Muhammad ibn Nasr I was the figures on the model of the gateway. As insufficient part of the decoration becoming record of the design is available. The loss of roofing founder of this dynasty, which visual data existed to carry out an exact replica, it was almost illegible. In Figure 1, the material and several lions did not intrude upon the ruled this kingdom from 1238 decided after discussions with the gallery’s curators kufic inscription at the bottom visual appreciation of the gateway. However, the re- to 1492. They originated the that an impressionistic approach should be adopted of the panel elongates and inclusion of the figures contributes to the appreciation most monumental, with the aim of replicating the dimensions, posture and transforms its characters into of the overall scale of the model. sophisticated and lavish colour of the original to blend within the model. The decoration. References to some period within Spanish plasticine model was cast in Sicovoss BL (silicone References invocations as the “baraka” Islamic art, making Granada rubber), using a plaster casing to support a thin silicone 1. Official Report of the Japan British Exhibition 1910. Unwin (blessing), with its elongated Brothers, Surrey. the artistic centre of North layer. Two figures were cast in polyester resin with fillers “ka¯f”and “ta¯’marbu¯ta” letters, Africa (Marinid Art) and the ’ of <40% synthetic amorphous silica, flake white dry 2. Strong, K. Ox against the storm, Japan Library, Kent, 1995, p65. appear in the centre and Iberian Christian Kingdoms powder pigment and barium sulphate. The catalysed corners of the panel. And on top Acknowledgements (Mudéjar Art). mixture was placed on the open mould. After the gel We are grateful for the work of Justin McMorrow, Senior of the central baraka the letter coat had cured a fine layer of glass fibre and polyester Conservator at the National Maritime Museum, who The best example of Nasrid “nu¯n”makes an invocation to resin was laid into each half of the mould. A catalysed contributed by superbly replicating the seated figures. art is the Royal residence of happiness (yumn). mixture of gel coat was applied to the joining edge and the Alhambra (Al-hamra = the Photography by Victor Borges Victor by Photography Figure 1. Plaster fragment with ataurique and calligraphic inscriptions combined

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Nashkid-Thuluth calligraphy is a more elegant style Ataurique (al-tawrı¯q = leaves, foliage, flora) is the pigments in a wide range of colours: red, used for describing the function of the rooms or as a name given to Nasrid floral and vegetal decorations. blue, green, purple and black combined reference to poetic quotations. In later periods, the These patterns come from classic decorative with gold and silver leaf. The painting Nasrid used it as a vehicle for their propagandistic elements, such as fruits, flowers and acanthus leaves, technique, as seen in Figure 2, was aims, displaying their dynastic motto “Wa la ghalib ila which evolved into more typical Hispano-Muslim extremely delicate and precise: plain Ala” (“There is no conqueror but God”) in key abstractions. These are found as free decorations on background colours, silver or gold leaf locations of the design (bottom centre of Figure 1). arches and windows, or filling spaces created by the on the high relief, and carefully geometric lazo (Figure 2) and the calligraphic executed sgraffito and fine painted Geometric lazo: These geometric compositions (so inscriptions (Figure 1). During the time of miniatures creating exquisite effects. popular in Islamic art) appear in Granada with such Muhammad V (1354) more themes and variations distinctive, accurate and rigorous design that they In the case of the fragment in Figure 2, appear: complex palm leaves (background of Figure 1), form a western school within Muslim art. Creations traditional pigments were found. The shells (symbol of the origin of life, Figure 3), peculiar to Nasrid art are the square grid, the high degree of fluorescence obtained with peppercorns, pine cones, and for the first time, they geometric lazo of eight and the eight pointed star. the Raman analysis in all samples could be

begin to appear intertwined with calligraphic Borges Victor by Photography These stars were the central point for bigger Figure 3. Mocárabe fragment with ataurique decoration. due to the presence of an aged binding medium, inscriptions. compositions called “ruedas” (wheels) where the lazo probably gum arabic or egg. Two of the most creates a geometric composition around the star Mocárabe is a type of ornament built up from vertical significant pigments traced are: red vermilion, different levels with the most important on top. To (Figure 2). prisms applied one over another. They would be probably produced by the so-called dry process, used finish off, several white washes of lime or gypsum joined in multiple different arrays resembling in China in antiquity and thought to have been were applied to soften the edges of the carving and stalactites, probably relating to the cave where the introduced in the West by the Arabs; and blue blur the transition between light and shadows. Only prophet Mohammed received the inspiration for the lazurite, which is obtained from lapis lazuli. This gypsum was found on Figures 1 and 3. Koran. The mocárabe is found located on capitals mineral, mainly extracted in Afghanistan, was so (Figure 3) and friezes, expanding to windows, arches With Muhammad III (1302) the technique became expensive at the time that its value was equivalent to and vaults at the time of Muhammad V. Nasrid more standardised: moulds began to be used. The gold, reflecting once more the luxury of this mocárabes are characterised by their immense design was drawn and cut in sections in order to polychromy and the sophistication of Nasrid variety of geometrical shapes and precise make moulds on wood or plaster. The casts obtained plasterwork. Traces of other materials were found, but mathematical proportions, making them unique in would be set in place while damp with dabs of clay further analysis of these is required western Islam. and sealed in with a gesso slurry. Finally the Reference whitewash and the polychromy, when required, were The main component of Nasrid plasterwork is 1. Burgio, Lucia.‘04-27-lb Alhambra - Microscopy analysis applied. All the fragments studied were cast. gypsum (hydrated calcium sulphate). Retardants such of Hispano-Moresque samples from the Alhambra’V&A Science Report, June 2004. as salts, glue or calcium carbonate were added to Mocárabes were produced following a more slow the setting and permit carving while panels elaborate process depending on whether the design Further reading were still damp. Sometimes the back would be was intended for a capital, frieze, arch or vault. The Puertas Fernández, A. The Alhambra Vol. 1., Saqi Books, 1997. reinforced with a rougher gypsum plaster containing number and variety of prisms (jairas) required for the García Bueno, A., and Medina Flórez V. J., The Nasrid sand and fibres. On the samples taken from the design were calculated. The variety of cuts on the Plasterwork at “qubba Dar al-Manjara l-kubra” in Granada: mortars, only gypsum was found. As a retardant, salts ends of the prisms created different geometrical Characterisation of materials and techniques, Journal of or glue may have been used. No trace of calcium shapes (called adarajas). The cut prisms were then Cultural Heritage 5, 2004. carbonate was found. joined with liquid gesso into rectangular sections (medinas), reinforced with a rougher plaster mixture During the first period of Nasrid Art (1232-1314) the and set in the final destination with clay (Figure 3).

Photography by Victor Borges Victor by Photography carving process took place in situ with the “naqch

Figure 2. Section of a 16 pointed star rueda hadîda” technique (sculpture with iron tools). The Nasrid masons loved playing with light and colour gypsum plaster was applied and then carved, effects in their plasterwork designs. Some panels following the design previously outlined with dry were simply whitewashed (Figures 1 and 3), while point. The ornamental motifs were then carved at others were richly painted, using high quality

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Mixed media object: large and fragile structure Sofia Marques Sculpture Conservator

The model is made of painted plaster and consists of but effective: a plywood board, longer than the base three walls and a ceiling. A wooden case, covered of the model and with handles at each end, was cut with red velvet, houses the model. Torn paper has so the object could be moved and transported been placed in between the wooden case and the according to the need without touching the velvet. plaster model to secure the plaster within its case The second consisted of building an “L”structure in and also to absorb any potential impact. This case plywood padded with two lengths of Plastazote®, one resembles, in shape and colour, the original tower at the top and one at the bottom edge of the back of with plain walls of a reddish colour. The red colour of the model. This enabled the model to be tilted on its the velvet enhances the polychromy, which decorate back so that work could be carried out on the base of the walls and ceiling of the interior. The painting on the model, where three of the feet were detached or the plaster aims to represent painted tiles just above loose. This way, handlers did not touch the model and floor level, painted and gilded stucco panels above instead, only two points of the velvet were in contact the tiles and the wood ceiling and door. The floor, the with Plastazote® covered with acid-free tissue. columns dividing the windows and the windowsills are made of white marble. Like a painting, a frame Finally, a template, provisionally made of plywood, surrounds a big opening that is in place of the fourth was sprayed three times with a polyurethane coating

wall, inviting the viewer to look inside. The two lateral (Selabond RJ119) and left to cure for two weeks. It was Robins, by Paul Photography V&A Photographic Figure 3. X-ray radiograph of top corner of wooden case windows offer different views on the interior. to go underneath the model and in between the feet that are at the base (Figure 2). The board was a few The velvet, which covers the wooden case that millimetres thicker than the height of the feet. It took houses the model is unfortunately in a very poor the weight off the four feet that even after treatment condition. Textile conservators of the V&A were Some precautions were taken prior to tilting the object were still considered to be too weak to carry the consulted for advice that stated that the to stabilise the base. X-ray radiographs (Figure 3) whole weight of the object. A permanent structure conservation of the velvet is practically impossible. showed nails and screws of different sizes and shape in 1 was to be made of sprayed metal and an acrylic Even the use of Parylene as a consolidant was ruled the wood indicating that the wooden structure had Photography by V&A Photographic Studio V&A Photographic by Photography Figure 1. Model of Portion of the sheet. Tower of the Captive, Alhambra, out. The method of application of Parylene takes many times been repaired. In order to ensure that the Granada, Spain. place in vacuum and creates a thin (less than 1µm), plaster model would be able to sustain its own even and transparent film. It has been used to rescue weight in a horizontal position, balls of acid-free The architectural model, signed by Enrique Linares, of very fragile objects such as leaves! To ensure a paper were closely packed to fill the inside space the Tower of the Captive in the Alhambra’s palace, successful consolidation, removing the velvet from of the model. Granada, will be one of the many curious objects the case would have been ideal but was an operation selected for the Architectural Gallery, (Figure 1). Having overcome the problem of handling the presenting high risks. Consolidating the velvet in situ This model aims to reproduce one of the great model, the next difficulty was the fixing of the brought other problems for the rest of the object. achievements of Hispano-Muslin architecture. loose wooden velvet-covered mouldings to the Further this co-polymer is renown for having bad main body of the case. The mouldings were The model of the tower, built in the 14th Century in ageing properties and reversing the treatment is 2 originally fixed to the main body with nails impossible . The velvet, therefore, was not Southern Spain, was made around 1880 with velvet, passing through both the velvet and the wood. consolidated and was only lightly vacuumed using a wood, paper, painted plaster and marble. The nail heads were cut off to be less obtrusive very soft natural hairbrush. The variety and fragility of the materials, the weight and no glue had been used. Most of the nails (99kg) and the size (95x92x63.5cm) makes this Before any further decisions are made this non- protruding from the loose mouldings were object a complex one in conservation terms. As a intervention will require regular assessments in order removed, but some were simply pushed back in result of this complexity, the conservation treatment to monitor the rate of degradation once it is on their original hole. Stainless steel brads were varied in nature and degree of difficulty. Overcoming display. also used on existing holes. Wooden dowels and the handling of this object in order to sort out High Tack Fish Glue were used where wood was Three steps were established to address the object’s structural problems was a major concern. in contact with wood. structural problems whilst minimising contact with

Consolidating the structure was also a challenge. by Sofia Marques Photography the badly damaged surface. The first step was simple Figure 2. Bottom of model showing structural problems. The feet on which the case stands are missing

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Planning and estimating

Nick Umney, Director of Collections Services Division, Tim Carpenter, Conservation Information Systems Manager, Sue Ridley, Head of Technical Services

In some cases two loose pieces of moulding were fixed together from the inner angle with an “L”shape metal plate before being fixed back to the main body. The metal plates are made of mild steel (previously coated twice with Paraloid B72 in acetone). A piece of spun bonded polyester fabric was fixed with rabbit skin glue onto the metal plate and the visible wood to avoid the metal scratching the velvet covering the case. As the space between the two sections of moulding was tight it was possible to place the mouldings in position using a light pressure. Acid- free tissue was used to fill voids that could potentially cause further structural problems, following the principle of torn paper mentioned before. Figure 1: Extract from CSD Public Programme Several strategies were formulated in order to maintain the present condition of the velvet, i.e. avoid handling the object while solving urgent problems Responsible project management requires broad The group then turned its attention to long range such as the structure of the wooden case supporting understanding of costs before commitment. estimating and forecasting of our capacity to deliver the velvet without conserving it. Both being in direct Traditionally, the Collection Services Division have the projects listed on the programme. The aim was to contact made the challenge even greater. The poor found it difficult to assess their capacity to deliver a come up with a simple method of predicting the condition of the velvet is one of the reasons why the mixed programme of gallery displays, exhibitions, resource implications of proposed projects based on model won’t be seen in its entirety when exhibited. publications and loans in the absence of object lists. previous experience. One way this might be achieved Nevertheless, this article provides an opportunity to From a planning perspective waiting until an object was by looking at statistical averages of numbers of analyse the integrity of this object as a whole. list appears is too late because a commitment to objects per square metre in different types of display proceed with a project has generally been made well and the average treatment times for objects and I am grateful to Tim Miller, Frances Hartog, Marion before this point. We therefore needed a tool that bring this together into a framework that would Kite and Boris Pretzel from the Conservation would allow us to make credible predictions about enable predictions to be made. The challenge was Department, Tanishka Kachru from the Word and the resource implications of medium to long-range then to apply this to a different population of objects. Image Department and the handlers from Technical programme proposals. Services for their contribution towards this project. Given the bewildering range of different object types The bringing together of the Departments of and materials, the Planning Group first reduced this Conservation, Exhibitions, Photography, and Records complexity to just six simple, easily recognisable References: and Collections Services into a Collections Services groupings based on size and object complexity. A 1 Grattan, David W. – Parylene at the Canadian Conservation Division (CSD) at the beginning of 2002 created simple matrix of small vs large and 2D vs 3D was Institute. An initial survey of some applications. Preprints opportunities for more joined up thinking about established and tested against sample groups of of ICOM 9th Triennial Meeting, Dresden, 26-31 August 1990, these museum operations. A Planning Group objects in the Museum to see if this would provide a Vol 2, Edited by Kirsten Grimstad (pp551-557) representing all CSD departments was quickly set up reliable basis for classification. This then led to the 2 Halvorson, Bonnie G. and Kerr, Nancy – Effect of light on to help achieve this. As a first step, a document, the adoption of the following six categories of object: the properties of silk fabrics coated with Parylene C. Public Programme Chart (figure 1) was created to 1 Small and simple 2D Studies in Conservation, vol.39, no 1, 1994 (pp45-56) bring together in one place a list of all the planned, public-facing, object-based activities over the next 2 Large and/ or complex 2D five years. 3 Small and/or simple 3D 4 Large and simple 3D 5 Large and/or complex 3D 6 Outsize or complicated (exceptional)

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RCA/V&A CONSERVATION Postgraduate Conservation Programme Alison Richmond Deputy Head, RCA/V&A Conservation The group then asked conservators, photographers and technicians to predict how long it would take It is always a pleasure to reflect on the many them to conserve, photograph, move and install achievements of our students over the academic objects in the different categories. year just passed. Yet again, one of our students was short-listed for the Pilgrim Trust Student To achieve good predictions it was also necessary to Conservator of the Year Award. Nanke Schellmann’s take account of the purpose of the work for which submission for the award was based on her the estimate was being made. This was formally research into the influence of pH on the cleaning of expressed as class of activity. The five classes of East Asian lacquer, and the short-listing is also a activity were established as: loans and acquisitions, recognition of the support and guidance she exhibitions, new gallery displays, gallery/store received from her supervisors in the V&A. clearances, publications. Once this was adopted, more consistent and reliable estimates could be produced. At the Convocation ceremony held in the Albert Hall, the Rector of the College requests the Alice Cole Each CSD section then determined the average audience to give the graduating students a round Textile Conservation amounts of time required to carry out their work on of applause. This year we applauded: 3 Year MA the different categories of object for the different BA(Hons) Textile Design: Chelsea College of classes of activity. Each activity was given a separate • Iwona Jurkiewicz-Gotch – MA Paper Conservation: Art. LINST calculation matrix (figure 2). Figure 2: CSD Resource Estimator: Estimator Template with Gallery/Store Architectural Works (with the V&A) clearance data The Public Programme was used to identify projects • Emma Schmuecker – MA Conservation of Social During her degree Alice studied a wide range of We have used the Estimator already to demonstrate that required resource calculations. Information on History Objects (with the Museum of London) textile and garment production techniques. She where there is insufficient staff time to deliver the number and category of objects for a project was specialised in knitwear design and particularly museum projects. This has not only helped in • Sherrie Eatman – MA Stained Glass Conservation then obtained by either research or assessing the enjoyed the dyeing of yarn. Her studies took her to securing additional staff resources, but has also (with the V&A) objects in situ. The resource required was then Italy and New York where Alice began to get a sense enabled managers to review priorities and deadlines calculated by entering the data onto the Template • Nicole Ingram – MPhil Risky Business? Heritage of textiles in a wider historical context whilst also for work. Responses such as moving opening dates (figure 2). Hospitality: The impact of special events on the developing an interest in stained glass and and changing resource focus have also been possible. contents of historic buildings (with English ecclesiastical art. The figures from each project were then Since the Public Programme Chart was first created, it Heritage) automatically transferred to a master sheet showing After graduating two years ago Alice began training has been adopted by a wide range of colleagues. At cumulative levels of resources required to service all • Harriet Standeven – PhD The technical and as an oriental rug restorer with a studio in London. first the brightly coloured programmes were a projects within a given period of time. Units of time historical development of alkyd-based gloss This introduced her to a diversity of different textiles curiosity at meetings, but others quickly saw their were reported on in quarters of a year. Levels of housepaints, with reference to 20th century including tapestries and upholstery fabrics. Alice use and began asking whether they might take available resource are put into the master sheet: this artists hopes that her time with the V&A will be the start copies. Now a circulation list exists and monthly of a lifelong career in textile conservation. She enables spare capacity or over-scheduling to be The range and depth of learning, teaching and updates are spread around the institution. It is hoped wishes to continue learning about as broad a range highlighted. research undertaken on the programme is certainly a similar pattern of interest and adoption will be seen of textiles as she can and the cultures that produced reflected in this list. The quality of our programme The model aims to provide a rational basis for with the Estimator. There is already interest outside them. She would particularly like to develop a is reflected in two recent appointments: Sherrie decision making in the overall museum planning the Division, with requests for projects to be run greater understanding of ecclesiastical artefacts Eatman MA to the position of Stained Glass process. It provides base line figures but can be through the Estimator to see what the resource and also the migration of dye stuffs. Alice would Conservator at the V&A following the departure of adjusted where more accurate assessments of implications are. love to travel with her work and gain experience objects are required or where a certain project breaks her supervisor, Drew Anderson – himself a graduate Our long term vision is for the Estimator to become a of conservation practices around the world. the ‘norm’ (e.g. when all of the objects in a project are of RCA/V&A Conservation – for the Metropolitan core tool in the overall planning process. To achieve large tapestries). Data from areas outside the CSD Museum in New York and Dr. Harriet Standeven to this, we must simplify the inputting process for (e.g. Collections) can also be incorporated into this part-time Tutor on the programme. proposed projects and agree a management tool. As projects are completed, actual data can be structure for reviewing the output. This will then We are looking forward to welcoming the new input to increase the validation of the results. provide a simple and easy to read interface which will students, whose biographies you will find on the give clear predictive messages for managers to following pages. engage with and make decisions.

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Naomi Luxford Barbara Schertel Hazel E Arnott Helen Evans Conservation Science in the Care of Historic Furniture Conservation Conservation of Tapestries and Textiles in “An Analysis of the Ethical Concerns Raised by Interiors (with English Heritage) 2 Year MA Historic Interiors the Conservation of War-Damaged Objects” 2 Year MA HND Furniture Restoration, London Guildhall 3 Year MA 2 year MPhil Msci Chemistry, University of Bristol University BSc Restoration and Conservation, London Born and brought up in West Yorkshire, textiles and After graduating in 1998 with a History of Art degree Naomi was unsure whether to study art or Metropolitan University needlework combined with history has always been from the University of Warwick Helen spent three chemistry at the end of her A-levels. Having chosen a passion of Hazel’s. Attending the University of York years working in the financial conferences sector and completed a chemistry degree she decided to Barbara gained her first experience in furniture to complete a BSc degree in Archaeology, the study before returning to higher education to do a post- combine the two areas. Conservation offered this conservation during a placement in a furniture of material culture and the ethics surrounding graduate diploma and MA in paper conservation at opportunity. restoration workshop in Munich. Her interest in historical archaeology were of particular interest Camberwell College of Arts. It was during her time studying abroad combined with the wish to gain to her. at Camberwell that she developed an interest in During a year out she worked as a volunteer two days more practical experience led her to the HND in conservation ethics in general and the conservation a week in Conservation Science in the Conservation After graduating in 1999 Hazel applied to, and was Furniture Restoration at the London Guildhall of war damage objects in particular. Centre,NMGM, Liverpool. Here she learnt about University in Autumn 2000. successful in gaining a place on the Royal School of environmental monitoring, which led to a three Needlework Apprenticeship. This three year Museology was an integral part of the Camberwell month internship studying environmental conditions After completing the HND in Furniture Restoration Apprenticeship teaches the fundamentals of course and during her post-graduate diploma she at the Lady Lever Art Gallery. She also spent a week at and in order to gain more knowledge and experience traditional embroidery skills with a strong emphasis studied the ethics of vehicular conservation and Birmingham Museum and Art Gallery learning about she enrolled in the BSc Restoration and Conservation placed on the high standard of workmanship. A work display in order to broaden her horizons beyond the effects of light in galleries. Both experiences at the London Metropolitan University. As part of the experience placement during the third year of the the boundaries of paper conservation. Visits to the developed an interest in collection care. BSc course, and in order to learn about conservation Apprenticeship was undertaken with the Textile Imperial War Museum and the National Army practice abroad, Barbara went on a placement to the Conservation Department of the National Trust. This Museum over the years resulted in an MA essay on She is looking forward to gaining a better Austrian Museum of Applied Art (MAK) in Vienna. experience confirmed that training as a conservator the ethics of the conservation and display of war- understanding of how science can be used in During the two and a half months placement within the field of textiles was the perfect damaged objects and provided the catalyst for her conservation, particularly within historic collections. Barbara enjoyed experiencing museum conservation opportunity to combine her interests. current research. practises first hand. A further two years have been spent working for This work aims to explore the myriad of moral Barbara is looking forward to studying at the the Royal School of Needlework since completing issues presented by objects damaged by war and RCA/V&A. The MA course will complement the Apprenticeship in 2002, before moving on to to assess how these can best be approached. Her Barbara’s wish to deepen and broaden her study for a MA in the Conservation of Tapestries intention is for this work to be used as a reference experience in the field of furniture conservation. and Textiles in Historic Interiors. tool by practical conservators rather than being an This will be further enhanced by the unique academic treatise irrelevant to the realities of a real possibility to work at the V&A with the guidance conservation studio. of the present experts and its unique collection of modern and old objects.

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Louise Parris Tsing-Young Dora Tang MA Conservation of Metalwork with Other MSci Chemistry with Conservation Science, Eoin Kelly Gates Turner Materials RCA/V&A Conservation with Imperial College of Science, Technology & Medicine OCEAN Support Scientist Metals Conservator Louise worked for 10 years in Barbados making I came to London four years ago to study for an MA I have come to work in conservation through a and selling jewellery in Bridgetown Cruise Ship Dora has always possessed an interest in art, in Paper Conservation at Camberwell College of Arts. process of elimination. Having completed a BA in Terminals and from her gift shop Poro Mariama, archaeology and science; being an active member In Ireland, I had initially done a Fine Art degree, and Mandarin Chinese, I decided I did not want to work as which sold items of art exclusively handmade in of an amateur archaeology society taking part in spent the rest of the 90s working as an artist and a translator. At this point I produced a list of qualities Barbados. digs, field walking and documentation and theatre designer. Following the MA, I spent a pleasant I wanted my career to encompass; independent of studying art alongside science at school. After summer in Oxford working on a book conservation one another, two trusted friends both came up with Louise left Barbados in 2000 to do a 2-year studying A-levels in Hertfordshire, Dora studied a project at the Queen’s College. As an Intern, I had archaeology (surprisingly, neither of them had any diploma in Design, Silversmithing, Jewellery and BTEC diploma foundation studies in art and spent the previous summer working on the Dean connection to archaeology or the museum world!). Allied Crafts, at the end of which she was design at Middlesex University. She specialised in Aldrich Conservation Project of seventeenth century awarded a Commendation from the Worshipful After working on a field excavation in China, I decided fine art for eight months, during which Dora was prints and drawings at Christ Church College. From Company of Goldsmiths for commercial design I was more interested in the objects rather than the able to experiment and learnt to manipulate and Oxford,I spent two happy years as a Conservation and manufacture. She went on to study a vast amount of soil and strata. I completed a MA in use oil paints, black and white photography and Mounter & Framer in the Paper Conservation Section Postgraduate Diploma in the Conservation and Principles of Conservation from the Institute of print making as visual devices. of the National Maritime Museum. This involved Restoration of Fine Metalwork at West Dean Archaeology at UCL and went on to be awarded a working with items as diverse as Augustine Ryther’s College, where she was awarded The British Dora is currently studying Chemistry with Postgraduate Diploma and Professional Development Armada Charts of 1590, to Hergé’s twentieth century Antique Dealers Association Frank Gutteridge Conservation Science at Imperial College, London Diploma in Conservation/Restoration of Fine drawings of Tintin. In addition to preparing items for Prize for her research project on the ancient and will begin the third year of a four year course. Metalwork at West Dean College, Sussex. loan out and display, I became involved in strategies decorative metalwork technique of Granulation, She recently spent eight weeks in the Department to protect and improve the reserve paper collections as well as the British Antique Dealers Association of Conservation, Documentation and Science at I am now involved in Metals Conservation at the V&A in store. Greenwich convinced me, once and for all, Harold Davies Prize. She then enrolled on the the British Museum. to help prepare objects for the upcoming Brass, that museum work was definitely for me and Professional Development Diploma Course in the Pewter & Cutlery Gallery opening in November 2004. Dora is very interested in the links between provided an invaluable grounding in the mechanics Conservation and Restoration of Fine Metalwork science and art, with a passion for art specifically of working with a large and varied collection. at West Dean, during which she did a six- week painting and a knowledge of chemistry she looks internship in the Metals Conservation Whilst at the V&A, I’ll be working on the OCEAN forward to studying Conservation Science with Department of the British Museum. Project and welcome the opportunity of approaching the RCA and the V&A. collections care from a different perspective. I look forward to gaining further insights into the developing technology involved in monitoring the environmental conditions of the various V&A sites.

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Anne Kwaspen Anja Bayer Amanda Barnes Miho Kitagawa Textiles Conservator Textiles Conservator Ceramics and Glass Conservator Furniture Conservation Research Intern I’m very pleased to introduce myself a second time For long time I cherished the wish to become an After working for a number of years at a large I studied Japanese lacquer (urushi) at Tokyo National on these pages. After two years study in Textile archaeologist. I wanted to dig out and reveal the insurance company in Norfolk, firstly in Information University of Fine Arts and Music, and also studied Conservation in Antwerp, internships in South remains of ancient daily life, and it was always Technology and then as Personal Assistant to their at Goldsmiths’ College, London for a year while I was Bohemia and Hampton Court Palace, and the seven exciting for me to imagine how people lived in Marketing Director, I came to the decision that it an MA student. After finishing, I worked at private months internship at the V&A, this is my first former centuries. At some point in my life, I had to was time to make a change in my career. I studied conservation workshops as well as freelance. I contract as a textile conservator. make the decision what to do and finally I found the for a degree in History of Design and Architecture worked in the Museum Science Section of the field of conservation. Here you really handle the at the University of Teesside, Middlesborough and National Museum of Japanese History and in the For just over five months I shall be working on a objects and may discover interesting facts about the then decided to develop my interest in ceramics by Conservation Section of the Tokyo National Museum costume from the Theatre Museum’s Diaghilev object’s history. As a textiles conservator, I still have a undertaking a two year postgraduate diploma in before coming to London to study western lacquer Collection. It is the Coronation Coat worn by special interest for archaeological finds. ceramics and glass conservation at West Dean (also called japanning) with a grant from the Chaliapin in the Mussorgsky opera Boris Godunov. College, Sussex. I then returned to Norfolk to set up Japanese Agency for Cultural Affairs. This opera was the first production that Diaghilev I started my career in 1995, spending two and a half my own workshop. Together with my private work, brought to Paris in 1908. The coat is in such poor years in a private workshop in northern Germany, I attended the Conservation Post Graduate Diploma I have also undertaken a number of contracts with condition that it has not been possible to display it working on a wide range of textile objects. course and then became a Research Fellow at the the National Portrait Gallery, London and Cliveden before. The entire duration of my contract will be Afterwards, I had the opportunity to study textile City and Guilds of London Art School. I have taught Conservation Workshop Ltd, Berkshire. needed to carry out the treatment of this object. conservation at the Berner Fachhochschule – Abegg- short courses on Japanese and western lacquer for Stiftung in Switzerland. After two contracts at the I am delighted to have the opportunity to work at students there. In April, I was accepted by my old From December 2004 till March 2005 the costume will Abegg-Stiftung and a number of short contracts at the V&A for the next ten months and to contribute university in Japan as a PhD candidate on be on display at the Working for Diaghilev exhibition in the private workshop, I applied for a six month to the new Jameel Gallery of Islamic Art, which is Conservation Studies. My research at the V&A the Groningermuseum (The Netherlands). contract at the V&A to gain a broader view about scheduled to open in 2006. is focussed on historical manuscripts relating conservation outside Germany. to western lacquer. I consider myself lucky to have a contract here and am now preparing some amazing and colourful Diaghilev Ballet costumes to go out on loan. I enjoy the work and find it interesting to work in such a great museum!

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