Nostell Priory painting conservation 2014

In twenty fourteen we sent a handful of paintings from Nostell Priory for conservation. Our House Team and specialist movers, Constantine, take down, pack and transport the paintings to Gillian Walker’s studio. Gillian begins work by removing the paintings from their frames. Lucy cleans between the canvas and the stretcher, vacuums the back of the canvas, and uses a smoke sponge to remove fine dust and dirt. It’s important that the canvas is adequately tensioned, so the stretcher keys are

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Narrated Old Master Painting Conservation

In this video, I’m going to walk you through the process of conserving this old master painting which, as you can see, is a little bit worse for wear. with multiple tears, punctures and paint loss in addition to a very thick, very discolored layer of surface grime, varnish, and linseed oil. This painting is really hiding from us right now and revealing it will be quite exciting. The first step in this painting’s conservation is to remove it from

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LIVE Q&A with MoMA Painting & Sculpture Conservators Ellen & Diana (March 14)

Diana: Maybe we shouldn’t say this because I haven’t made any videos. Ellen: Hi, everyone, welcome to MoMA’s live Q&A. I’m Ellen. Diana: And I’m Diana. Ellen: And we’re both conservators here at the Museum of Modern Art, which is where we’re sitting. We’re actually in the painting side of the painting and sculpture conservation studio. Painting is your field, right, Diana? Diana: Yeah, I specialize in paintings. Ellen: And I’m a sculpture conservator, which means I take care of

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LIVE Q&A with MoMA Painting & Sculpture Conservators Ellen & Diana (March 14)

Diana: Maybe we shouldn’t say this because I haven’t made any videos. Ellen: Hi, everyone, welcome to MoMA’s live Q&A. I’m Ellen. Diana: And I’m Diana. Ellen: And we’re both conservators here at the Museum of Modern Art, which is where we’re sitting. We’re actually in the painting side of the painting and sculpture conservation studio. Painting is your field, right, Diana? Diana: Yeah, I specialize in paintings. Ellen: And I’m a sculpture conservator, which means I take care of

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Vaquero Returns: Conserving Luis Jiménez’s Monumental Sculpture

For more than two decades, ‘Vaquero,’ a monumental sculpture by Luis Jiménez, has greeted visitors as they entered the Smithsonian American Art Museum in Washington DC. Jimenez is known for his reinterpretation of images associated with the American west and Mexican-American culture. Here, he updated the traditional equestrian sculpture to call attention to the rich contributions of Latinos who performed the grueling work of early ranching in the western United States. Conservators at the museum take care to protect the

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Conserving Albrecht Dürer’s Monumental Arch

Freyda Spira: Working in a collection where there are 1.5 million objects, you often find hidden treasures, and I feel very lucky that as a scholar of German printmaking from the Renaissance, I was able to open the doors of the storeroom and find this incredible thing. The Triumphal Arch of Maximilian was commissioned around 1514 by the emperor, and the arch was modeled after Roman arches, so instead of having a marble arch, he wanted something more ephemeral, but

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Conservation of Sculpture & Decorative Arts

– Conservation is an overarching term which refers to all of the activities that we do, including the preventive work, the analysis, the authentication, the study of conditions of display, and the control of those conditions, and it also includes restoration. Restoration is really the piece of conservation that involves actual physical changes to an object. One of the most interesting restoration projects that we have undertaken here at the Getty in the past few years has been the restoration

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NPG BTS: Conservation of a Pencil Drawing – National Portrait Gallery

But we actually haven’t exhibited it very much. We might have put it up in the recent acquisitions show very briefly but the condition was so sort of unsightly that we really haven’t used this. We really haven’t exhibited it. This delicate pencil drawing is from the collection of the Smithsonian National Portrait Gallery. It is of Daniel Webster by Albert Gallatin Hoit and is dated circa 1854. It is somewhat compromised by this reddish-brown spotty staining known as foxing.

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Making a Spanish Polychrome Sculpture

Female voiceover: Underneath its ornate exterior, the sculpture, “Saint Ginés de la Jara,” has a core made of two hollow, wooden structures. On the bottom, is a large, box-like section, which is reinforced inside with a small wood block attatched on the front left. On the top, is a smaller hollow section. The two sections are then glued and nailed together. Next, boards are attached to the sides, which will become the Saint’s robe. A piece of wood carved to

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Stanford conservators work to preserve Rodin Sculpture Garden

Stanford University. We’re working on washing all of the sculptures around campus and putting a protective wax coating on them. In particular, the Rodin Sculpture Garden right next to the Cantor Arts Center. All the sculptures in the garden are made of bronze. The patina is very susceptible to damage, which is the color coating that the creator of the art put on the sculptures to make them look a certain way. The patina is a chemical reaction with the

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