Preparations are well underway for the upcoming exhibition From Shanghai to Ohio: Woo Chong Yung (1898-1989). In fact, we have been developing the show for more than four years.
Something is afoot with these shoes! Can you put your finger (or toe) on the difference?
This iridescent green shade came to the lab in a box of fragments. Piece by piece, I built the individual fragments back into a shade.
This visitor favorite, Girl Eating Porridge, by French artist Adolphe William Bouguereau (1825–1905), was acquired by the museum in 1884, a mere ten years after the artist painted it.
In my post of November 30, I promised to explain what it took to improve the appearance and the mechanical condition of Emil Klauprecht’s 1830s lithograph, Galt House.
Check out some small wonders from the world of textile artwork!
These tiny ceramic fragments are part of a Japanese doll’s tea set. I am working on putting these pieces back together so that they can be displayed with their doll in the future.
This small painting by American artist Julian Alden Weir (1852–1919) was donated to the museum by the artist in 1911.
At first glance it is obvious the print has had a rough life.
We’ve got it all! All the width of this 1920s embroidered voile (fine soft sheer fabric), that is.
Several small copper alloy objects, pieces of jewelry and articles of adornment, are all showing signs of bronze disease.
These three portraits by 18th-century British artist Thomas Gainsborough are in the paintings conservation lab to be examined for the British catalog project.
In the Conservation Lab, we are working on this large ceramic jar from Dynasty I Egypt (3100–2900 BCE).
This small round painting, attributed to the studio of the 17th century Dutch artist Frans Hals, was recently in the paintings conservation lab to have its discolored varnish removed.
There are few things more satisfying than seeing some really dramatic “before and after” photos when a conservation treatment is complete! Conservation of Elizabeth Hawes’ “flag dress” or Geographic (1940) has wrapped up, and now you can flip through a whole album of “before/after” pairs showing the transformations of many of the flags that cover the dress.
If you’ve been following our Conservation blog posts, you may have seen several updates as we carried out treatment over the past two years.
In 2019 and 2020 the museum received three prints by American artist Raphael Soyer (1899–1987), the first of his prints to enter the museum’s collection.
The forecourt display case in the Conversations Gallery is fresh! A new rotation arrived last week, and it is practically aglow with summery white freshness. How does a 150-year-old child’s dress look this crisp and breezy?
We’ve had this painting by American Impressionist Theodore Robinson (1852–1896) listed for varnish removal for a while. That’s because curators and conservators know that Impressionist artists rarely varnished their paintings.
Over a couple of weeks, I examined, cleaned, and rehoused a series of sixteenth-century prints by Léonard Gaultier (circa 1561–circa 1630).
How would you like to travel in a custom “sleeping bag”? These three dresses designed by Ann Lowe (American, 1898–1981) are headed to the Winterthur Museum in Delaware for the exhibition Ann Lowe: American Couturier, snuggled in soft surrounds for a safe and comfortable trip.
Another work recently conserved for the British catalog project, The Approaching Storm by English artist Thomas Barker (1769–1847), presented a challenge.
In 2005 the museum received a gift of Japanese art that includes ceramics, paintings, and prints. Now that our Curator of Prints Kristin Spangenberg has finished researching the 35 prints in this gift, I am reviewing their needs before moving them to their permanent storage locations.
What is one of the best things about being a textile conservator? To me, it’s that I sometimes have the chance to “converse” with my fashion design heroes through their work.
When I read the curatorial file for this painting, I discovered a remarkably expansive biography, not just of the painting itself, but also of the sitter and the artist. What is most interesting to me, though, is the sitter’s story.
This week, the museum installed a twenty-first century take on the monumental “roll-up” map.
This week, grab a sneak peek at “coming attractions” with this Indian floor spread! She’ll be the “star of the show” in our Anu and Shekhar Gallery of South Asian Art when installed at the end of June.
The treatment on our Jain Shrine is (finally!) nearing completion!
We recently cleaned Sunlight on Prospect Street, Gloucester, Massachusetts by Edward Hopper (1882–1967).
Does crisp spring weather make you crave a snuggly blanket? The Cincinnati Art Museum has several!