Want to store your treasured fashion objects safely at home? If your objects are safe to hang, you can make your own padded hangers.
This week in objects conservation we are working on a 18thC Chinese lacquer table with shell inlay.
Staff members have been very active in the museum galleries for the past month. One of the cases that was due for its regular rotation is the hanging scroll case in Gallery 138.
It’s working! In the textile conservation lab this week, our textile conservator has been working on preparing this silk dress for an upcoming exhibition.
This week in Objects Conservation we are outside with Pinocchio!
Here’s a conservation treatment that has continued during the stay-at-home period for our paintings conservator.
Our paper conservator has not been in the lab since March, but she is still working on the collection.
This padded headboard insert has a doppelganger. It is being prepared for an exhibition next year and came to the textile conservation lab for treatment.
Did you know that one of the most important parts of conservation is keeping a detailed and thorough record of every treatment?
When this landscape by Pierre Bonnard went out on loan to another museum a few years ago, our paintings conservator only had time to surface-clean it, to remove the dust and grime that was on the surface.
For those of you who saw Women Breaking Boundaries before the museum had to close its galleries, you would have seen the wall-sized piece by Lorna Simpson, Wigs.
What is a “textile” anyway? Take Color for a Spin is a fiber sculpture made of crocheted forms stiffened with a coating and strung together with wire.
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.