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Our paper conservator and our curator of East Asian art have been examining paintings from storage so we can add information to the curatorial and conservation files.
This dress is up for consideration to get into a different kind of exclusive party: the museum’s Fashion and Textiles Collection.
This week we have a 16th C mug decorated with ships, seas, and animals.
These blossoms are being conserved just in time for spring.
This print came to the paper lab because the original framing method had encouraged distortions to form across the top of the paper.
Precision dyeing and color-matching is an important part of textile conservation and this week, we have a dyed-to-match success to report for this silk Argentine flag from the Elizabeth Hawes Flag Dress.
This week we have an 18thC Islamic ceramic vessel with beautiful underglaze decoration.
Conservation of the 24 “Dollyver” family member is finally complete!
This week in objects conservation: this 16th century Iznik plate is in the lab receiving treatment.
Our paintings conservator has started to clean the varnish from this painting by Edmund Tarbell.
22 pairs of women’s shoes from the 1950s are being prepared for an appearance in the galleries.
The lab is full of architectural stones as we get ready to reinstall our Nabataean galleries.
This life size painting by 19th century American artist, Thomas Satterwhite Noble, is a recent acquisition.
Last week our paper conservator visited the Contemporary Arts Center downtown to deinstall the museum’s Panorama of the Procession.
This bowl, from Iraq, is a beautiful example of lusterware. Luster is an iridescent effect produced by metallic oxides in the overglaze.
This bedspread is getting "ready for her close-up."
This stone relief dates to 883-859 BCE and depicts a divine figure wearing a horned headdress.
A heavy layer of grime covered the surface of the thin wood panel and the remains of paint.
This week in objects conservation we return to the 1920’s Paul Theodore Frankl mirror. The aluminum leaf on the base and frame is easily abraded and during its use, suffered from normal wear and tear.
While the paintings conservation studio is under renovation, we thought you might like a look at an example of the choices that conservators can face.
This ceramic lion has been in the lab getting ready for an upcoming gallery rotation, meaning when a group of works from our permanent collection are ‘rotated’ onto view in a gallery.
Along with many other areas of research, conservation scientists test the materials that conservators use in treating works of art.
An amazing transformation took place this summer in the Paper Lab.
This large decorative mirror was designed by Paul Theodore Frankl in the late 1920’s.
Conservation of “The Swing” by Nicolas Lancret is moving along.
In celebration of his 133rd birthday, let’s take a closer look at Duchamp’s intaglio print of a cubist-style coffee grinder currently undergoing conservation in the Paper Lab.
A bird's eye view in the textile conservation lab workbench this week brings us these pajama bottoms and a little of the mid-conservation chaos that goes into making them look their best.
The objects conservation lab is happy to welcome summer intern Nicole Schmidt, a graduate student from the Garman Art Conservation Department at SUNY Buffalo State in her third year of training.
These days, our paintings conservator is working on a painting that, as you can see, is long overdue for cleaning.
This year the Cincinnati Art Museum is again supporting the Contemporary Arts Center by lending a book to their newly opened exhibit, “Tania Candiani: Sounding Labor, Silent Bodies”.