AIC's 52nd Annual Meeting

In the mid 1990’s, the Art Gallery of Ontario (AGO) in Toronto, Canada, accepted a large donation of historic European picture frames from an anonymous collector. Over 1,500 frames, dating from the 16th to the early 20th century, arrived at the gallery in two batches, in 1994 and 1997. While some frames were unwrapped, catalogued and even briefly displayed in a special exhibition (Framing History: European Frames 15th - 19th century, 1995), the vast majority remained stored, concealed in their original shipping material until now.

The AGO’s conservation and curatorial departments had tried, with mixed success, to deal with the collection since its acquisition. In 2022, the AGO Frame Project was launched as an institutional initiative to develop a program to care for and use the frames in accordance with current standards of museum practice. The AGO hired Senior Frame Conservator Hubert Baija, recently retired from the Rijksmuseum, on a one year contract, as well as a frame conservation fellow, two dedicated art handlers, and a dedicated photographer. They worked with the AGO Senior Framer, curators, and registrars to finally unwrap, examine and document the collection.

Now in its second year, the AGO Frame Project aims to foster a supportive environment in which to understand and care for this vast collection, which represents over four hundred years of European frame history. Education and knowledge sharing has been a crucial part of this initiative, increasing appreciation and respect for the collection not only in the conservation department but also among curators, framers, collections experts, and other departments. A symposium on the history and conservation of frames in May, 2024, hosted at the AGO, will introduce this collection to the frame community and, we hope, open even more opportunities for exchange and collaboration.

Ultimately, the goal of the AGO Frame Project is to make this important collection more accessible for study and for lending. As custodians of this collection, the AGO is committed to the idea that pairing historic frames with appropriate artworks is an important aspect of their conservation, as it preserves their function. It is our hope that a digital database will lead to pairings of these frames with works of art at other galleries and museums as well as our own.

This paper describes the AGO Frame Project’s collaborative process, the surprises and opportunities we have encountered along the way, and what was revealed when we finally unwrapped the frames.

Domestic Jain house shrines, ghar derāsars, exist in a handful of collections around the world, and only a few retain their polychrome and gilded surfaces. The elaborately carved, detailed surfaces are exquisite examples of Gujarati architecture but are largely understudied with few dedicated publications. The Jain shrine in the Cincinnati Art Museum is an important example of a domestic Jain shrine. Acquired in 1962, it’s thought to date to the 17th century and retains its metal overlay and polychrome. An architectural piece, comprised of over forty-four intricately carved parts, it stands over 7ft tall. The shrine had been in storage for a decade and was in poor condition when a donation was made to renovate a gallery to display it. The timeline for construction gave only eight months for the treatment of this unique object.

The project presented several challenging and complex components. The most concerning condition issue was a very thick/blackened coating completely obscuring the delicate gilt and painted details. The three-dimensional surface meant it would be difficult to remove the coating evenly. The large size and multiple disassembled parts made it difficult to devise a cohesive treatment suitable for all parts. The short time frame added further complexity to planning and executing the treatment.

The main treatment priority was to remove the coating to reveal the painted details. Removing the thick coating with solvents alone was ineffective. Solvent gels were tested as a typical method for removing coatings on carved surfaces, however the abrasion caused when removing the gel made this option too risky for the paint and gilt layers. Evolon® CR has been a successful option for applying solvents to flat surfaces to remove varnishes and coatings with minimal abrasion. Although not typically used for high relief surfaces, Evolon® CR was tested as an available non-abrasive option. It proved successful in removing the coating without risking the paint and gilt beneath, however it proved challenging to work with on the carved surfaces. Purpose made weights and unconventional clamps overcame this challenge, demonstrating that Evolon® CR can be used just as effectively on carved surfaces, providing an excellent low abrasion alternative to solvent gels. Though this treatment method was effective, it could not be completed on such a large object within the given timeframe. As rushed treatments often lead to negative outcomes, extending the timeframe was essential to the success of this project. Through early collaboration with curatorial and marketing departments the timeframe was successfully extended. Using social media updates of treatment and creation of an informative treatment video, we were able to balance the interests of the museum, donor, and conservation, while also generating public excitement for the eventual installation.

The presentation of this treatment will demonstrate an effective method for coating removal on decorative wood with carved high relief surfaces using Evolon® CR. It will also discuss the challenges and decision-making process in treating a complex object under a tight deadline, and how to advocate and negotiate for support to allow for effective treatments.

This poster aims to take a closer look at the materials and techniques used in the creation of Tibetan furniture. This understudied area of East Asian furniture production has been the focus of only one English-language conservation publication despite pieces being held in many collections throughout the United States. The Los Angeles County Museum of Art’s group of Tibetan furniture forms includes approximately 30 pieces of furniture in large part drawn from the Hayward Family Collection. The Hayward Family seeded significant works throughout other major collecting institutions.

As part of the EU Horizon 2020 GREENART project (https://www.greenart-project.eu/), several pieces of furniture were selected for technical study, with a particular focus on their original paint stratigraphies and later-applied coatings. The poster will share preliminary findings from these pieces with an emphasis on the elaborately painted and gilded surfaces. The primary case study presented will be Altar Table with Dragons and Auspicious Symbols (https://collections.lacma.org/node/214797) which includes several colorants, metallic flakes and leaf, and raised grounds. Samples were collected from this group of objects. Several analytical techniques (e.g. SEM/EDS, FTIR, XRF and Raman) were used to help characterization of the pigments and organic binders.

Many of the objects in the LACMA collection exhibit tacky, darkened coatings which both obscure original surfaces and make storage difficult. It is hoped that this poster can serve as a jumping-off point for conversation around Tibetan furniture with the end goal of promoting greater understanding between both conservators and those with traditional source community knowledge. This study will provide a foundation for the eventual design and implementation of sympathetic, nuanced conservation interventions.

The identification of wood with the use of visibly induced ultraviolet fluorescence has been used mostly for the timber industry and has only briefly been explored in the field of Art Conservation. Making use primarily of relatively large core samples dispersed in solvent, the need for a more reliable, faster, and less invasive technique for wood identification is of pressing importance. Thanks to the recent advancement in Fiber Optics Spectroscopy (FOS) the possibility of creating repeatable fluorescent responses from wooden art objects has become more of a possibility. This poster explores the potential application of Fiber Optic Spectroscopy (FOS) in the ultraviolet (UV) range for the minimally invasive identification of wood species, in the context of art conservation and cultural heritage.

The study focuses on the identification of various wood species commonly found in cultural heritage institutions, including Mahogany, White Oak, Walnut, Poplar, and Ebony, through UV-induced fluorescence spectra and compares the results to known fluorescing species such as Staghorn Sumac. Notably, many of these woods are not known to visibly fluoresce under UV light with the results revealing that FOS in the UV range can produce identifiable spectra for wood samples, even in cases where visible fluorescence is absent. The emission and absorption bands for each wood species are analyzed, providing characteristic spectral fingerprints.

The poster concludes by highlighting the potential of FOS in UV fluorescence as a minimally invasive tool for wood identification, particularly in art conservation, offering a new potential approach to addressing this aspect of the field. The need for further research is emphasized, including the expansion of the sample size to encompass a broader range of wood species, investigation of how growing environments affect spectral responses, and the creation of a comprehensive spectral database for future comparative analysis.

This paper will detail the technical examination, digital planning, and physical reconstruction of missing pieces of a 17th century kas, or Dutch cupboard, in the H.F. Dupont Winterthur Collection (object number 1952.0049). Review of the kas before its inclusion in an exhibition of New York furniture at the Winterthur Museum revealed stylistic inconsistencies with other 17th century New York kasten as well as evidence of obvious compositional changes with regards to the design over time prompting the question: does the current appearance of the kas reflect its early 17th century appearance?

The kas was subjected to thorough visual examination and instrumental analysis to answer this question. Documentation in varying light sources (visible, ultraviolet, x-radiation) allowed for identification of clear areas of intervention on the exterior. Surface coatings were analyzed through pyrolysis gas chromatography mass-spectroscopy (PyGCMS), x-ray fluorescence spectroscopy (XRF), and optical microscopy, to identify and compare coating histories across the object. Wood identification of select decorations provided information about materials’ provenance. Findings of the combined analysis supported the hypothesis that the kas had been significantly altered since its creation and no longer reflected its original appearance. Given the Winterthur Museum’s designation as a research collection and the curatorial goals to return the kas to display as an example of 17th century American furniture at the museum, the kas was reversibly altered to reflect a more likely original appearance. Digital alterations of the kas based off of gathered evidence and historical cognates were drafted and shared for peer review. The agreed upon missing or altered pieces of the kas were then constructed from congruous materials and attached in a reversible manner which preserved evidence of original construction and past treatment to the kas to allow future study.

The Dahshur Boat at Carnegie Museum of Natural History in Pittsburgh, PA is one of only four preserved in museum collections today. These boats were built from cedar wood and originally constructed for use in association with the pyramid complex of the 12th Dynasty pharaoh Senwosret III. The boat measures some 9.2 meters in length and is comprised of a total of 27 hull planks and 46 deck planks. It was originally excavated by French archaeologist Jacques De Morgan in 1894 and purchased for the museum in 1901. The boat was housed off site for five years while construction on the museum was completed. It was installed in 1905 and remained on view until 1976, when it was disassembled and put into storage. In the late 1980s the boat was studied and prepared once again for exhibition, where it remained until 2022.

In 2022 after a major leak in the museum’s roof, the boat was deinstalled for its own protection. It suffered water damage, with some of the hull and deck planks warping, cracking, and staining. Previous deterioration includes brown rot (microbial attack) and soluble and insoluble salts which covered most of wooden surface. Most concerning is the surface abrasion and graffiti dating to the 20 years (1956-1976) when the boat was on open display. During that time, the wood was treated with an unknown wood preservation product called “Wife’s Pride,” which has caused staining on the surface of the wood and increased the fragility of the wood fibers.

This paper details the work of the museum’s conservation team to analyze the impact of the leak and the previous wear and tear sustained from years of display. It includes an overview of the current treatment plan and an evaluation of preliminary research conducted in 2022 prior to and just after the deinstallation of the boat. The proposed treatment plan includes photography, architectural documentation, assessment survey, and scientific analysis using XRD, XRF, FTIR, and SEM. In addition, multispectral imaging will help to expand the results of the 1989 and 2017 searches for pigment remains. The goal of this paper is to present the team’s initial findings and obtain feedback on the proposed treatment plan.

The utilization of 3D scanning and printing technology for loss compensation has been used in conservation for some years. However, it has largely been confined to larger institutions with substantial budgets, rendering it beyond the reach of the average conservation laboratory. Recent advancements in 3D scanning technology, driven by developments in the medical and gaming sectors, have resulted in more accessible and cost-effective solutions. This has opened up new possibilities for smaller conservation labs to harness the advantages of this time-saving technique.

This paper discusses the acquisition and evaluation of consumer-level handheld 3D scanners and a smartphone application in comparison to the conventional photogrammetry technique. The objective is to investigate the feasibility of incorporating these budget-friendly options into the toolkit of a conservation lab. Key parameters considered during the testing phase encompass cost-effectiveness, ease of operation, post-processing capabilities, and the accuracy of the resultant 3D scans.

To assess the practicality of these scanners, a 19th-century gilded compo dealer's frame from the Madison County Historical Society in Oneida, New York, was selected for treatment. The frame was in a state of disrepair, exhibiting substantial losses, particularly in the form of missing decorative compo elements, including all four corners. The selected 3D scanners were employed to capture the existing corners, and subsequently, these scans were amalgamated into a single, comprehensive model. This consolidated model served as the basis for 3D printing and molding processes, enabling the creation of compo fills to restore the frame to a whole state.

This research seeks to contribute valuable insights into the applicability of consumer-level 3D scanning technology in the realm of art conservation, particularly for conservators operating within constrained budgets. By focusing on the case of the gilded compo dealer's frame, this study examines the practicality, affordability, and effectiveness of these emerging technologies in facilitating the restoration and preservation of cultural heritage artifacts. The findings will inform conservation practices and potentially expand access to 3D scanning and printing resources within the broader community of conservation labs.

Since the mid-1970s, the Museum of Fine Arts, Boston has acquired artisan furniture for gallery seating. For 48 years, the seating served simultaneously as visitor seating and accessioned art. 75 seats and growing, this collection portrays the diverse work of American studio furniture makers, from new interpretations of historic designs to futuristic creations in aluminum and steel.

This paper reviews the conservation practices for Please Be Seated, in light of their continued use in the museum’s galleries.

Paul Rudolph (1918-1997) was an American architect and former dean of the school of architecture at Yale. After his passing in 1997, the Library of Congress acquired a significant amount of the Rudolph's archive, including several architectural models. The models were made across a range of dates and from a wide variety of materials, including foamcore, blotter, plywood, acrylic sheeting, thick veneer, coated wire, cast aluminum, dried moss, and basswood. Several pieces have been stored in their original shipping crates in off-site storage, and not accessed for some time.

Four of the models were selected for loan as part of a retrospective on Rudolph's work slated to open in September of 2024. Two of the large models were in poor condition, and had been on open display in the archive before coming to the Library. They had accumulated a significant amount of dust and grime on their surfaces, some of which had become concreted after a water event prior to acquisition. The wet wooden elements had severely curled, loosening some of the joins. Insufficient support during shipping also caused significant damage, particularly on the model of the Colonnade. The Colonnade is made of four floating modules which slide over a central tower. Each module is supported by two metal pins which are not fixed in place. Jostling during shipment caused some of these pins to shake loose, which led to the partial collapse of the modules. Because of its extensive damage, the Colonnade tower model was selected for this talk. It had sustained both water and physical damage, requiring cleaning, humidification, consolidation, and recreation of both plastic and wooden elements. Treatment of the tower, standing at 68 inches when fully assembled, was a collaborative effort between the lead conservator and several technicians, and included training on wet- and dry-cleaning methods, stain reduction using gels, cleaning and reattaching plastic elements, and recreation of missing pieces.

Rainy Day Canapé is one of a small subset of three-dimensional work in the catalog of the artist, Dorothea Tanning. She had a long and varied career as an American artist whose work spanned seven decades and crossed media boundaries. While Tanning is best known for her Surrealist paintings, her collective works include commercial illustrations, painting, drawing, printmaking, sculpture, set design, costume design, fiction, and poetry. Between 1965 and 1982, Tanning created 15 individual sculptures and one room installation that included an additional 6 sculptures. The sculptures are all cloth covered; she used found objects and stuffing to achieve her intended forms.Rainy Day Canapé is one such object and has been in the collection of the Philadelphia Museum of Art (PMA) since 2002 (accession number 2002-86-1).

The PMA’s sculpture was made in 1970 and features intertwined body parts emerging from the upholstery of a loveseat. The sculpture’s materials are listed in the PMA records as upholstered wood sofa with wool, polyester, and rayon plainweave cover, wool batting, cardboard, and ping-pong balls. However, in 2018, a small area of degraded polyurethane foam was discovered in the form of powder emerging from a gap in the seam of the tweed cover near the bust of the reclining figure. This was an interesting and unexpected find as Tanning was not known to have used polyurethane in her work. However, due to the nature of the sculpture’s construction, identifying the internal materials and their various conditions would be difficult and invasive. Furthermore, Tanning has been quoted saying that she felt these cloth sculptures should have the lifespan of an ill person. How does the conservator/curator/institution tasked with preserving such works for future generations navigate the ethical challenge of such a specific artist’s wish, especially when faced with the knowledge that the work features a rapidly degrading material that has the potential to fundamentally change the form of the sculpture?

It became clear that this work required focused attention to plan for its future. Rainy Day Canapé has been requested for loan many times since it was acquired by the museum in 2002, and the 2019 retrospective of Tanning’s work held at two popular museums in Europe will only increase her visibility and interest in her sculpture. By conducting extensive object examination and multiple forms of documentation, literature review, personal interviews, and archives research a more in depth understanding of the complex nature of this work and the artist was gained. Is there a way to honor the artist’s wishes/expectations while also making the sculpture available to both present and future audiences? This presentation will discuss Tanning, Rainy Day Canapé, and the actions and recommendations necessary to manage these seemingly conflicting goals.

The husband-and-wife duo Charles and Ray Eames are some of the most influential designers of the 20th century. The Eames’ designs, organic and inspired, softened industrial materials, bringing them into the homes of a wide consumer base. While they experimented and worked with a range of materials, they are particularly known for their pioneering use of molded plywood. Released in 1946, the FSW (folding screen in wood) exemplifies the Eames’ design philosophy.

The FSW in The Metropolitan Museum of Art’s modern and contemporary collection is composed of six molded plywood segments joined in sequence with woven hinges. The plywood segments are veneered with mahogany and have a bell curve-shaped profile. Fully extended, the screen measures 58 ½ in long and 68 in tall.

Pieces of furniture are enmeshed in the events of daily life that occur around them, capturing records of those activities in the form of wear from regular use, or scratches made by young children and stains from a spilled drink. The Eames FSW is a particularly dynamic object, meant to be moved, opened and closed, and repositioned in endless configurations. The Met’s screen bears the markings of an actively used domestic object, including home repairs likely made with materials the original owner had on hand.

In a museum context, the purpose of The Met’s FSW has changed. It is no longer a specific screen in the home of a specific family—it has become an archetypal example of a design object. Evidence of the screen’s previous life now distracts from its most important attributes, chiefly form and materiality. The surfaces of the Met’s FSW exhibited deep scratches in the finish as well as fourteen patches of overpaint that starkly contrasted with their surroundings. Two sections of one of the woven hinges had detached from their housings.

This paper will detail the treatment of The Met’s FSW, completed as part of the author’s 3rd year graduate internship. Rather than focus on specific outcomes, it will describe the decision-making process that guided the treatment. This process was complicated by the screen’s finish, which was identified as containing cellulose nitrate using the diphenylamine spot test. Working within the limitations imposed by the sensitive finish, retouching using Maimeri Ketonic Resin Colours with ShellSol D38 was ultimately decided to be the best course of action for addressing the overpainted patches. The scratches in the finish were re-saturated with 20% Plexigum PQ611 in Shellsol D38 and the woven hinge resecured with Lascaux 498 HV. With this paper I hope to illustrate the challenging decisions involved in treating a consumer object that has undergone changes both intentional and incidental.