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This set is made of porcelain with very thin, translucent walls and a gilt fruit and vine design.
This painting is a nineteenth century American landscape that has suffered multiple tears in the course of its lifetime, probably due to the poor quality of the canvas.
Our paper conservator has been in the darkroom capturing images of watermarks from some of our Old Master prints.
Check out this behind the scenes look from our conservators.
This week in objects conservation we open up the 19th C Lacquered chest.
This beautiful landscape by Impressionist Alfred Sisley was recently being cleaned of its varnish by our paintings conservator.
The objects in the Women Breaking Boundaries exhibit in the galleries across from the café are examples of wide-ranging media, including light-sensitive objects.
This week in objects conservation: this early 1920’s porcelain bowl is in the lab for cleaning and repair.
One of the perks of being a conservator is of course spending many hours up-close-and-personal with great art.
In a few weeks, we are installing some recent acquisitions from CAM’s fashion collection in Gallery 150.
This week in objects conservation we return to the 1740’s Rococo gilt table.
Conservation of this painting on wood panel by the Dewing husband-and-wife team was undertaken because the retouching on the painting had discolored.
This drawing recently came to the paper lab to have some old paper remnants removed. The drawing is on the back of a letter, and some of the writing was obscured.
CAM is proud to have one of the oldest art conservation labs in the country which started with a single, part-time paintings conservator in 1935.
This 1740’s French Rococo gilt table is in the lab receiving treatment for an upcoming exhibition in 2021.
This tall narrow painting by a husband-and-wife pair is in the paintings conservation studio for removal of varnish and discolored retouching.
Oil paintings do not usually come to the Paper Lab, but occasionally the conservators share projects, and that is the case here.
A steady hand and a sharp eye are key for the repair currently underway of this painted silk taffeta bedspread in the textile conservation lab.
This week in Objects Conservation: An update on the treatment of our 19th C Korean lacquered chest.
Our paintings conservator has been cleaning this idyllic view of the Seine for the past few days.
Over the summer the paper conservator prepared two William Blake works for travel to an important exhibit at the Tate Britain in London. Blake’s Songs of Innocence and Experience is a collection of hand colored relief etchings of his poems first published in 1789 and 1794.
In textile conservation, work was recently completed on “Ragsby Dollyver,” a “portrait” rag doll by Laura Turpin that may be the artist’s self-portrait.
These two separate fragments from a stone incense burner have been in the collection since 1939.
Conservation for the upcoming Duveneck exhibition continues apace.
These two 1st Century CE ceramics from Petra are in the objects lab receiving conservation.
Sometimes a painting can make its feelings known.
Sometimes an artist presents us with something that looks good from the front, but when we turn it over we notice that there are problems that can’t be seen when the art is hanging on a wall.
This Japanese garment, or haori, recently went on display in the Asian Gallery.
These two 5-6th C stucco panels are in the lab for treatment.
Our Italian masterpiece A Sibyl and a Prophet by Andrea Mantegna, dated to around 1495, has been in the paintings conservation lab for treatment.