Animal hides with a variety of tanning and use histories can be very successfully treated in the conservation lab. We deal with mold removal, humidification, reshaping, surface cleaning, repairs, and missing area restorations. The example shown here was a full goatskin milk churn that had been over-stuffed with foam and hung from its tied forelegs (now missing). It was cleaned, humidified, foam removed, interior cleaned, all tears repaired, and missing area restored with toned Japanese paper reinforced with a canvas interior.
Basketry is by nature a delicate material subject to physical damage as well as damage by light, heat, and humidity fluctuations. We can reinforce weak areas and recreate losses using (primarily) Japanese papers toned to mimic the existing warps and wefts.
In the example here, several nearly detached areas were re-connected and missing elements were created, inserted, and toned to restore the basket’s overall original shape and appearance.
Ceramics, while resistant to many environmental concerns, are of course vulnerable to breakage with mishandling, accidental contact, or earthquake. Repairing a broken ceramic at home with improper glues and methods can make a bad situation much worse. We use reversible, conservation grade adhesive and fill materials and we match the surfaces in areas of loss with minimal overpainting wherever possible. If your object is in many pieces, we use a careful step-wise method to make sure the puzzle that your beloved object has become can fit together again as tightly and seamlessly as possible.
In the example here, a pair of beautifully glazed Persian tiles had been poorly repaired in the past. Old fills were crumbling and old paints had yellowed, darkened, or were poorly matched to begin with. Some details, such as the blue bird’s eye, were obscured by the repair materials. Treatment included removal of all the old fills and overpaint, physical stabilization of the repairs, (re)filling of losses, and toning and texturizing the new fills to match the surrounding glaze colors. By minimizing the appearance of the old damage, the floral scene - and not the past damage- can once again be the focus of the viewer.
We treat all types of metals - from precious silver and gold jewelry to bronze sculpture, iron tools, and more. Often metal objects need corrosion or tarnish removal, though this has to be done carefully and thoughtfully to prevent loss of information or historic patina.
In the example here, a Tibetan water carrier - in iron with gold and silver inlay - had badly tarnished, disfiguring the beautiful inlaid detail. A microscope was used to determine the thickness, strength, and treatment options for the inlay. The surfaces were then cleaned, polished cautiously under magnification, and coated to slow future tarnish on display. The iron was also hand-toned with a reversible method to return it to its original deep brown patina, based on an early photograph and comparison to similar objects.
Stone objects - typically sculptures - end up in the conservation lab due to physical damage such as chips or breaks, or to environmental damage such as staining from biological growth, or surface loss from acidic rain. Repairing breaks, reducing staining, and sometimes recreating lost elements can all be done by a trained conservator.
In this example, a multiple fracture at a thin, weak element required a strong adhesive as well as some toned filling where chips had not been collected when the object broke.
Polychrome objects come to us with a variety of problems from breakage to insect infestation to warping and other environment-induced damage.
This antique crucifix had been damaged in shipping, with both the wooden cross and the ceramic Jesus figure suffering breakage. Examination also revealed extensive old repairs and excessive, poorly matched overpaint.
Once the extent of the overpaint was shown to the client using ultraviolet illumination, it was agreed to remove all of it, exposing original surface where possible and re-integrating with reversible inpainting where original surface was lost.
Failed old repair materials were removed, the joins mended, and the areas of loss toned to provide a better visual integration for this beloved object.
Outdoor sculpture can be of bronze (copper-alloy), steel, other metal, stone, fiberglass, and more. Due to their location outdoors, all such objects require regular maintenance. A typical visit will include photo and written documentation, site analysis, site prep, surface cleaning, waxing and/or other coating. Sometimes areas of damage or discoloration have to be addressed and suggestions can be given to improve the site (remove bird-perch branches, instruct gardeners how to avoid scratching with lawn equipment, etc.).
In this example, a large group of bronzes was regularly cleaned and waxed to revive the deep, nuanced patina envisioned by the artist.
Gesso, plaster, clay, and gypsum are often used as surface treatments on wood objects or are carved or molded into objects on their own. These materials can be quite friable and are subject to physical damage with mishandling or accidental contact.
In this example, the halo on this Buddhist sculpture had been damaged in a move. The iron armature showed expansive corrosion which had likely caused fissures and pressure to the clay/gesso composite, weakening the area in advance of the breakage. In treatment, all break edges were consolidated, detached fragments were readhered, and any remaining losses were filled and toned with appropriate materials to the delight of the client.
Most objects are made of more than one material. Some are composed of several, which can add complexity and challenge to their conservation treatment as well as to their ideal storage or display parameters. Generally the most vulnerable material must be given the higher priority in terms of temperature, relative humidity, light, and so on. Treatments often involve segregating- as much as possible- the various components or at least masking off one area when working on another.
In this example, a horse made up of many materials including textile, metal, wood, and clay had suffered severe water damage in storage. The water had caused mold to grow, adhesives to fail, and entire areas of the object to crumble. The treatment included mitigation and cleaning for mold, adhesive repairs, and a complete rebuilding of the hooves. The owner’s memory as well as photos of similar objects and of real horses were consulted to guide the process.
We work closely with fine art framers, mount-makers, and art handlers to ensure that the artwork we care for is safely exhibited the way the client desires but also within the best preservation interests of the object. Sometimes the conservator is the best person to physically mount the object on its backing, as we are the most familiar with the object’s weak points and specific needs.
In this example, a Hopi hide painting was mounted onto a fabric-wrapped archival board. We worked with the owner, designer, and art handler to create the mount, then carefully sewed the object onto the board using just the pre-exisiting (stretching) holes on the object. Where no holes were present, sheer fabrics were laid across the surface and sewn down to hold those areas in place.
These are just a few of the hundreds of objects we’ve treated in the past two decades. Please do not hesitate to enquire if you don’t see the material your object or collection is made from. If we can’t help you, we will be more than happy to direct you to colleagues who can!
