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Reliquary: The Assessment and Remediation of Structure and Cosmetic Concerns

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Reliquary: The Assessment and Remediation of Structure and Cosmetic Concerns

A Belgian Dutch style Reliquary, likely crafted in the 17th century, housing numerous religious relics, and exemplifying two distinct decorative paint styles, came to The Center in need of conservation and structural support. Of initial concern was the broken glass over the large central reliquary shadow box. The top third of the broken glass section had fallen into the box. Upon further examination two additional concerns arose: the structural stability of the case overall, and of the top decorative paint layer.

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A Portrait of Aretino: A Collaboration of Painting and Frame Conservation

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A Portrait of Aretino: A Collaboration of Painting and Frame Conservation

This painting was brought to our studio after having sustained fire damage. The work is an early, well executed copy, circa mid 19th century, after Titian’s “A Portrait of Aretino”. The original is housed in Palazzo Pitti, Florence. Pietro Aretino was a well known playwright, poet and satiric, who had significant influence on contemporary art and politics in Europe in the 1500s. Because of this influence, he became a close friend to Titian.

The Torah Mantle: Preserving a Cultural Treasure

The Torah Mantle: Preserving a Cultural Treasure

This drapery is known as “pruchat aron”, and is used to cover the sacred cabinet that houses the Temple’s Torah, in the form of a massive scroll. Along the upper section are the main symbols of First Temple: The Torah Crown; a pair of wings belonging to the “karuvim”, or angels, who were believed to overlook the sacrificial altar; a seven-light Menorah (as opposed to the eight-light Hanukkah Menorah); the robe worn by the great “cohen”, or priest, who would be commanding the Temple; the tablets with the Ten Commandments; and the sacrificial altar. Collectively, these symbolize the holiest of the elements pertaining to the Temple.

Treating Three-Dimensional Objects

Treating Three-Dimensional Objects

This object is a sculptural relief carved in wood signed “P Luypen” in the lower right. The piece came to The Center housed in a red velvet lined wood frame. According to an assessment done by Richard Raymond Alasko in 1992, Pieter Luypen was a Dutch artist, born 1763, who died sometime after 1810. He notes that the wood is brown oak, depicting a spray of roses, lilies of the valley, lilies, asters, and lilac. There was a reproduction of the carving taken at an angle which at the time of the assessment was our only reference for placing broken elements correctly.

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The Challenges of Outdoor Frescos

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The Challenges of Outdoor Frescos

The Chicago Conservation Center recently conserved outdoor frescos painted in 1955 by Jean Charlot located at Saint Mary’s College in Notre Dame, Indiana. Jean Charlot was born in France in 1898. He moved to Mexico in the 1920’s and joined up with the muralists Diego Rivera, Jose Orozco and David Alfaro Siqueiros. He died in Hawaii in 1979.

Picasso's “Les Deux Saltimbanques”

Picasso's “Les Deux Saltimbanques”

This small print by Pablo Picasso was executed in 1905. Both figures are partially surrounded by ghostly images beautifully created with dry point; on the left, there is the hint of a cape along with evidence of changes in the figure’s stance and placement on the plate. The figure on the right seems to have a shadow behind the head and upper arm. The two acrobats in conversation give the viewer the opportunity to think about their exchange.

The Treatment of Two Oversized Antique Maps

The Treatment of Two Oversized Antique Maps

The two maps we will discuss in this article were created in the late 19th century. The linear images were the result of a very exacting printing technique called engraving, which permitted the engraver to work only with single lines and closely placed hatch marks to create shadows. This is especially apparent where water is depicted near land. The engraving technique is nicely illustrated in the Map of North America, engraved by H.S. Tanner, Philadelphia, in 1822.

Flaking Paint: The Challenges of Paint Stabilization

Flaking Paint: The Challenges of Paint Stabilization

"The River Road – Early Snow" (oil on canvas), pictured above, came to The Center because of lifting throughout the paint layer. Cracking and lifting of the paint layer occurs when stresses on the painting are too strong for the strength of the paint layer. These stresses, such as, environmental changes in heat and humidity, cause the paint, ground, and canvas layers to expand and contract at different rates resulting in cracks and lifting. Because the paint layer was friable, the already dry paint became more brittle than normal over time.

The Hidden Complexities of Mount Making

The Hidden Complexities of Mount Making

As historic objects age, natural degradation processes may weaken what were once strong supports and stable points of attachments. As this happens, the necessity of a proper mount increases. Whether the purpose is stabilization, prevention, or display, mounts are an often overlooked yet important part of the conservation process, and warrant consideration as a preventative approach to long-term preservation.

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Preservation of a 1930s David Adler Home

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Preservation of a 1930s David Adler Home

Gold, silver, mirrors, marble, and dynamic geometric forms accent and set off unique and in some cases unconventional design elements through one of David Adler’s 1930’s homes. Designed by David Adler and built in 1931-32, in the Georgian Revival Style, this home, under treatment by The Chicago Conservation Center, has undergone various modifications through the years. Recently acquired by the current owners, the home is in the process of a large scale and long-term renovation and restoration project.

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Omer Calendar Scroll, Custom Mount & Vitrine

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Omer Calendar Scroll, Custom Mount & Vitrine

This Omer calendar scroll is hand-painted and calligraphied on a continuous strip of goatskin vellum, rolled on a pair of wooden spools. Over time the vellum became heavily buckled and fragile, making it impossible to unroll more than twelve inches at a time. The challenge was to provide an archival mount which would preserve and protect the fragile manuscript, and also allow the owner to scroll through it at will.

Conserving Antique Furniture: Common Issues with Veneer and Glue Failure

Conserving Antique Furniture: Common Issues with Veneer and Glue Failure

Loose, lifting and buckling veneer are common problems encountered with historic furnishings. Historic furnishings are constructed from various species of wood and are adhered almost exclusively with the natural adhesive animal hide glue. Various factors contribute to the delaminating and distortion of veneers. An ideal environment rarely experiences rapid and/or dramatic fluctuations in temperature or humidity. Housed in optimal environmental conditions, an animal adhesive will maintain its integrity for many years; however, such conditions are seldom the case.

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Protecting Your Art Assets: A Collaboration Between Conservation and Custom Framing

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Protecting Your Art Assets: A Collaboration Between Conservation and Custom Framing

Conservators of art on paper collaborate closely with conservation framers to be certain that all protective measures required are used while housing each work. Works of art on paper are varied and frequently complex, often depending upon the paper quality or type, or the media used in the art making process.

What To Look For in a Fine Art Storage Warehouse

What To Look For in a Fine Art Storage Warehouse

An occurrence which we often encounter at The Center is artwork damaged as a result of improper storage. For those who collect art, it is important to consider the necessity of a reputable fine art storage warehouse. Whether your needs are for temporary storage during construction or home renovations, long-term in cases of fire, flood, or natural disasters, or rotational purposes, both private and corporate art collectors should be informed on the specifics that define a safe and secure storage warehouse.

Treating a Franz Kline

Treating a Franz Kline

Recently treated at The Center, a Franz Kline masterpiece; a white field with broad, black, very expressive brush strokes.  The painting came to the our conservation studios because of concern for the stability of the paint layer in particular areas. The primary concern was tiny (in comparison with the 62 ¼” x 80 ¾” size of the painting) delaminations of black “drips” from the white paint.

The Treatment of an Old Master Print by Albrecht Durer

The Treatment of an Old Master Print by Albrecht Durer

The print collection at Albion College is an enormous and important teaching tool. With great art history lessons to offer, this collection can give students, scholars, collectors, as well as the interested public, so many examples of printmaking techniques and styles. This print by Albrecht Durer is a good example.

Veterans Memorial Museum

Veterans Memorial Museum

Each time The Chicago Conservation Center is involved in a disaster relief situation, be it small or large, we are presented with new challenges in art handling and conservation. The Veterans Memorial Museum in Cedar Rapids, Iowa proved to be one of those situations in which ingenuity and quick-thinking was required to save their collection from the recent flooding of the Cedar River. In less than two days, and with crucial help of local volunteers lead by Michael Jager of Cedar Rapids, The Center’s Disaster Response Team was able to inventory and pack the entire collection of 425 military artifacts housed in the now toxic environment.

The National Czech and Slovak Museum and Library

The National Czech and Slovak Museum and Library

As a consequence of the massive flooding of the Cedar and Iowa rivers that occurred in Iowa last June, The National Czech and Slovak Museum and Library in Cedar Rapids was surrounded by 15 feet of water, well above any historical level. As soon as the water started to recede and the building was safe to enter, The Conservation Center sent a five person disaster response team to assess and recover the textile collection that was located on the first floor of the museum and thus totally immersed during the flood. This portion of the textile collection encompassed approximately 1,000 traditional Czech and Slovak costumes and garments, many with detailed colored embroidery, glass beading and metallic thread decorations.

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The Benefits of Digital Reproduction

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The Benefits of Digital Reproduction

This decorative hand-painted Esther scroll arrived tightly wound inside a beautiful metal case. In its fragile condition, the scroll could sustain even more damage if continuously rolled and unrolled from its case. Therefore the preservation challenge was to find a way to appreciate the scroll, but not damage the document itself. Digital reproduction was recommended as a solution to this problem, so the original could remain in the case with less handling, and therefore experience less deterioration over time.

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