It's the holidays and a special delivery came for the Fashion and Textile Arts Collection!
This little painting measures around 5 by 8 inches.
Posted by Conservation
This object, a talismanic shirt (India, 15th-16th century), was conserved by the Victoria and Albert Museum, London.
This 5th C Greek alabastron made of alabaster, has been in the objects conservation lab for repair.
Our paintings conservator has been removing a thick grime layer from this recently acquired folk art painting.
The prints for New World Views are now on view, but before they were matted, framed and hung, the prints spent time in the Paper Lab.
This week in textile conservation we did a load of laundry: doll clothes from the Dollyver family set of dolls currently undergoing conservation treatment.
The oil sketch is one of a few paintings in our collection that is framed in a special sealed-environment package.
You may have seen a post about this doll a few weeks ago when her costume was undergoing treatment in the textile conservation lab.
A few weeks ago our paintings conservator teamed with our expert Installation Department to return Zaragoza’s “Retablo of Saint Peter” to its gallery after conservation.
This page from a Qur’an was written in the 13th century in Spain.
A visit to the workbench in textile conservation today might feel a little like visiting a fashion studio--in miniature.
Our objects conservator has been working with Andy Wolf, an intern from NYU’s graduate training program.
Our paintings conservator has been examining this little painting by John. H. Twachtman.
ur paper conservator is spending the summer looking very closely at intriguing documents that will soon be on view in Collecting Calligraphy: Arts of the Islamic World.
Take a peek behind the scenes—or under the rug, in this case!
A few weeks ago when we had our GE digital x-ray demo running in the Conservation department, our objects conservator brought in the spectacular Railway Engine Coffeemaker for imaging.
Here’s a detail of one of the paintings from Zaragoza’s “Retablo of Saint Peter.” At left is the same detail in normal light, after conservation.
While in Houston for the annual meeting of the American Institute for Conservation of Historic and Artistic Works (AIC), our paper conservator had the opportunity to use her expertise to help a small museum.
Last week, Conservation was lucky enough to have an on-site demonstration of digital x-ray by Cory Morriss from GE and Scott Hunley of RCON NDT.
There was a mysterious alteration in this painting. This is a detail of the bottom (also no pun intended) right corner of a nude study by Frank Duveneck, taken while the painting was being cleaned.
This spring in paper conservation, we’re looking at a print of Cincinnati, a view of the city from across the river in Kentucky.
The dye recipe catalog is an important tool in a textile conservation lab.
This week in objects conservation we revisit our stone sculpture of an eagle wrestling a serpent.
When a conservator cleans a painting it’s usually described as using solvents to remove varnish and grime layers.
When we think of photographs, we usually picture a piece of paper, often of a size that can be mounted in an album or framed and hung on the wall of our home.
Posted by: Conservation
Once a year our objects conservation team cleans the Rio Delle Torreselle Chandelier by Dale Chihuly.
This portrait by French artist Jean Baptiste-Camille Corot has been on the blog before and now treatment of the painting and frame are finished.