Infested: Conserving a Tibetan Ladahki Headdress

Infested: Conserving a Tibetan Ladahki Headdress

This Tibetan headdress arrived at The Center with a severe active moth infestation that had caused major surface and structural damage. The conservation of this object has been an arduous, ongoing process since it was brought to The Center. Moths consume keratin, a protein found in animal furs and wool, and subsequently can destroy anything made from animal products. 

Back In The Race: Repairing a Chinese Tang Dynasty Artifact

Back In The Race: Repairing a Chinese Tang Dynasty Artifact

This Chinese Tang Dynasty Painted Pottery Figure of a Prancing Horse was damaged as a result of improper packing and packing materials during the shipping process. Upon examination, it was discovered that the breaks occurred at points on the legs where they had been previously repaired. It also became evident that there were other areas of previous poor restoration, notably around the face of the horse; these areas remained unharmed.

Conserving an Over-sized 19th Century Treasure

Conserving an Over-sized 19th Century Treasure

When the paper conservation staff here at The Center first encountered this massive and fragile poster, we immediately noticed that, along with water damage, the current housing was inappropriate for the longevity of the piece: The frame was an inadequate depth, and the sheet was in direct contact with a large and fragile piece of glass. Initially, due to the lack of spacers or mat, the poster appeared to be adhered to the glass which would have complicated matters greatly. Upon further examination, it was determined that a layer of discolored varnish on the surface of the piece was creating this illusion. In addition to the problem varnish, this work exhibited many areas of extremely tight distortion; these were the result of an earlier and unsuccessful effort to back the piece to fabric and mount it to a Masonite board.

Treatments for Complex Tears

Treatments for Complex Tears

This quaint little painting of an Old Woman Feeding the Birds was recently brought to The Center for treatment due to the complex tear throughout the canvas. The painting, measuring 9 ½” x 7”, had fallen from the wall, causing numerous tears and pulling of the left edge of the canvas from the stretcher. The artist is unknown, but the piece is most likely from the late 19th/ early 20th century and an important personal item to the owner.

When Bad Things Happen to Personal Pieces

When Bad Things Happen to Personal Pieces

A two foot tall plaster replica of a traditional African carved wooden sculpture of sentimental importance came to The Center from a private collection after it had incurred severe damage from a fall. The impact of the fall bent the steel armature within both of the ears and caused them to shatter into over one hundred pieces. After careful examination of the piece, we decided the bends were irreversible due to the damage that rebending the metal might cause to the intact sections of the sculpture. Despite this, we determined it was possible to reassemble the broken ears and restore them to their original appearance.

Reliquary: The Assessment and Remediation of Structure and Cosmetic Concerns

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.

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

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.

The Challenges of Outdoor Frescos

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.

Preservation of a 1930s David Adler Home

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.

Omer Calendar Scroll, Custom Mount & Vitrine

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.

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

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.

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