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Conservation Journal A ISSN 096702273 P ublished by V&A Conservation V&A Conservation ublished by Conservation Journal Autumn 2004 Number 48 £2.50 @ point of sale 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 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 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 V&A Journal No.48 Conservation V&A Journal No.48 Conservation 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 papers 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 China 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,
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