This upright trio recently encountered one another in the Paintings/Objects Conservation lab.
The silk binding edge of this art quilt has been badly damaged by prolonged exposure to light which occurred before it came into the museum’s collection.
These two ceramic pieces have the same condition issues we see in many ceramic objects conserved in the early to mid 20th C.
Our painting conservator has been working on this very large 17th century Neapolitan still-life.
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.
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.
Our paintings conservator is examining this very large still-life in preparation for cleaning it.
Conservation of the 24 “Dollyver” family member is finally complete!
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.
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.
It was laundry day in textile conservation again! This length of Korean silk is part of a sculpture by Nam June Paik (1936-2006).
This bowl, from Iraq, is a beautiful example of lusterware. Luster is an iridescent effect produced by metallic oxides in the overglaze.
Despite a rollercoaster of a year, the Cincinnati Art Museum hosted a wide range of virtual and in-person experiences including our first virtual fundraiser, and opened the highly anticipated Art Climb, the new civic art space on the grounds of the museum.
We’re still unearthing treasures as we unpack and settle back into our renovated Paintings/Object lab.
Soon to move from the paper lab to the gallery is a box decorated with ink and gouache by Elizabeth Boott Duveneck.
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.
As we prepare for Halloween this week, here's a scary story from textile conservation!
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.
In September the light sensitive objects that had been on display in the Women Breaking Boundaries exhibit were returned to storage.
In textile conservation this week, we are carrying out condition checks for a checklist of 27 pairs of women's shoes from the 1950s.
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.