Lisa Mitchell, conservation placement student from Northumbria University, describes her experience of working at the CRC in this week’s blog post…
Over the past two weeks I have had the pleasure of working with the conservation team at the CRC as part of my summer placement for my Master’s degree in conservation on works of art on paper.
Following an intense but fulfilling first year studying at Northumbria University, the summer has provided a very welcome respite from assignment writing and the opportunity to put some of my newly taught conservation skills into practice!
Working alongside Emily Hick, the Special Collections Conservator, I have been fortunate enough to assist her in the completion of the final stages of the conservation treatment of a collection of 32 portraits from India, which Emily has recently written about in her Passage to India blogs (part 1 and part 2 can be read by clicking on the highlighted text).
In this week’s blog, Special Collections Conservator, Emily Hick, describes the next stage of conserving a collection of Indian paintings, and explains how she used a rigid gel to remove old tissue papers that were adhered to the front. You can read part one of this blog here.
After completing a condition report and putting together a treatment proposal, we began interventive treatment. The first step was to surface clean the paintings. This removes all loose surface dirt, which can be harmful to paper documents, and prevents the dirt from sinking further into the paper fibres during the later aqueous treatments, making it difficult to remove. To do this we used a soft goat hair brush on the painted areas and smoke sponge on the borders. We cut the smoke sponge into small pieces and used a dabbing motion to avoid removing any of the gold leaf sprinkled on the surface. A good quality Mars Staedler™ rubber was cut into thin slithers and used to remove areas of ingrained dirt on the edges of the painting.
Ingrained dirt at the corner of a painting
In this week’s blog, Special Collections Conservator Emily, describes the first stage of conserving a collection of Indian portraits…
I was recently asked to complete a condition report and treatment proposal for a collection of 32 portraits from India, known as a Tasawir, dating from the late eighteenth or early nineteenth century. The images have been pasted onto gold-sprinkled paper, and 7 have examples of calligraphy on the back. They are due to be used in a teaching seminar at the University in the new academic year and are scheduled for exhibition in 2017, but need to be conserved and rehoused before they can be safely handled and displayed. Prior to any conservation work carried out on treasures in the collection such as this, a full condition report is required to document any signs deterioration. This allows the conservator to study the object in detail to understand the materials used, the types of damage found and what may have caused it, ensuring that the treatment proposal put forward is carefully considered and suitable for the item. The brilliance of the pigments used, and the detailed nature of the paintings make these items visually stunning and I was delighted to be given the opportunity to examine them closely.
One of the paintings in the Tasawir