The Conservation and Restoration of Ceramics brings together the wide range of current information relevant to the practising conservator. The book opens with a discussion of the fundamental nature of the ceramic medium, information which is of primary importance when selecting treatments or considering preventive conservation measures. Details on techniques are given in a series of chapters covering the restoration and conservation processes, but the emphasis is on the basic principles involved in the choice of materials and methods. The nature and properties of materials commonly in use are fully discussed and guidance is given on the facilities and equipment needed. Also covered in the book are old restoration materials and methods, the ethics of ceramics conservation, examination and recording, display treatments and emergency procedures. Now in paperback, this book will be invaluable to practising conservators and readers of conservation as well as of interest to museum curators and collectors.
Students and scholars of the Italian Renaissance easily fall under the spell of its achievements: its self-confident humanism, its groundbreaking scientific innovations, its ravishing artistic production. Yet many of the developments in Italian ceramics and glass were made possible by Italy's proximity to the Islamic world. The Arts of Fire underscores how central the Islamic influence was on this luxury art of the Italian Renaissance. Published to coincide with an exhibition at the Getty Museum on view from May 4 to August 5, 2004, The Arts of Fire demonstrates how many of the techniques of glass and ceramic production and ornamentation were first developed in the Islamic East between the eighth and twelfth centuries. These techniques - enamel and gilding on glass and tin-glaze and lustre on ceramics - produced brilliant and colourful decoration that was a source of awe and admiration, transforming these crafts, for the first time, into works of art and true luxury commodities. Essays by Catherine Hess, George Saliba, and Linda Komaroff demonstrate early modern Europe's debts to the Islamic world and help us better understand the interrelationships of cultures over time.
Over the past twenty years there has been a significant increase in underwater activities such as scuba diving which, coupled with the adventure andromance always associated with shipwrecks, has led to rapid developments in the discovery and excavation of shipwrecked material. These shipwrecks are invaluable archaeological 'time capsules', which in themajoriety of cases have come to an equilibrium with their environment. As soon as artefacts on the wreck site are moved, this equilibrium is disturbed, and the artefacts may commence to deteriorate, sometimes in a rapid and devastating fashion. In fact excavation without having conservation facilities available is vandalism--the artefacts are much safer being left on the sea bed. Such famous shipwrecks as the Mary Rose (1545), the Wasa (1628) and the Batabia (1629) have not only brought the world's attention to these unique finds, but have also produced tremendous conservation problems. The treatment of a 30 metre waterlogged wooden hull or large cast iron cannon is still causing headaches to conservators.
This book is the first to bring together in one comprehensive volume a wide range of key topics in glass and ceramics conservation. Scientific research in deterioration mechanisms and in the methods and materials of conservation processes are dealt with extensively by twenty authors, each internationally respected in their subject. The training available for glass and ceramics conservation is covered in contributions by five course directors at colleges in the USA and Europe. The book is designed for conservators, curators, conservation scientists, and ceramics and glass technologists.
First published in 1996, this volume has been substantially updated to reflect new research in the conservation of stone monuments, sculpture, and archaeological sites.
This book provides a comprehensive research on Ancient Indian glass. The contributors include experienced archaeologists of South Asian glass and archaeological chemists with expertise in the chemical analysis of glass, besides, established ethnohistorians and ethnoarchaeologists. It is comprised of five sections, and each section discusses different aspects of glass study: the origin of glass and its evolution, its scientific study and its care, ancient glass in literature and glass ethnography, glass in South Asia and the diffusion of glass in different parts of the world. The topic covered by the different chapters ranges from the development of faience, to the techniques developed for the manufacture of glass beads, glass bangles or glass mirrors at different times in south Asia, a major glass producing region and the regional distribution of key artefacts both within India and outside the region, in Africa, Europe or Southeast Asia. Some chapters also include extended examples of the archaeometry of ancient glasses. It makes an important contribution to archaeological, anthropological and analytical aspects of glass in South Asia. As such, it represents an invaluable resource for students through academic and industry researchers working in archaeological sciences, ancient knowledge system, pyrotechnology, historical archaeology, social archaeology and student of anthropology and history with an interest in glass and the archaeology of South Asia.
The Metropolitan Museum of Art houses one of the world’s largest and most comprehensive collections of works of art from antiquities to modern and contemporary material. Their preservation is a responsibility shared by the many individuals employed at the Museum who oversee and have direct contact with the collection on a daily basis. The Care and Handing of Art Objects—first published in the 1940s and continually updated—offers a guide to the best practices in handling and preserving works of art while on display, in storage and in transit. It explains many of the fundamental principles of conservation that underlie these methods. One of its goals is to make the complexities of caring for a collection readily accessible. The first part offers basic guidelines for the preservation of the diverse types of materials and art objects found in the Met. Each chapter addresses the physical characteristics specific to the particular category, and the environmental, handling and housing factors to which one should be alert to prevent damage and ensure their preservation. Written by experts in the respective specialty, it addresses the Museum’s vast holdings summarizing the most critical preservation issues, many of which are amplified by photographs. As the table of contents makes evident these range from paintings on canvas and works on paper and photographs to furniture and objects made of stone, wood and metals to arms and armor, upholstery, ethnographic materials and many others. Part II succinctly describes factors that affect the collection as a whole: among them, current environmental standards for temperature, relative humidity, light exposure, storage and art in transit. Based on Museum protocols it addresses emergency preparedness and response, and integrated pest management. For easy reference, it includes charts on storage and display conditions, on factors contributing to deterioration, and a glossary of conservation terms, principles, and housing materials referenced in the individual chapters. Drawing upon the knowledge of conservators, scientists, and curators from many different departments, as well as technicians and engineers whose expertise crosses boundaries of culture, chronology, medium and condition, The Care and Handing of Art Objects is primarily directed to staff at the Met. It is, no less, an invaluable resource for students, collectors, small museums, museum study programs, art dealers, and members of the public who want to enhance their understanding of how works of art are safeguarded and the role environment, handling and materials play in making this possible.
Conservation techniques for the analysis and preservation of heritage materials are constantly progressing. Building on the first edition of Conservation Science, this new edition incorporates analytical techniques and data processing methods that have emerged in the past decade and presents them alongside notable case studies for each class of material. An introductory chapter on analytical techniques provides a succinct overview to bring the reader up-to-speed with which type of material each technique is suitable for, the differing sampling techniques that can be employed, and the handling and processing of the resultant data. Subsequent chapters go on to cover all common heritage materials in turn, from natural substances such as wood and stone to modern plastics, detailing the up-to-date techniques for their analysis. With contributions by scientists working in the museum and heritage sector, this textbook will interest students, scientists involved in conservation, and conservators who want to develop their understanding of their collections at a material level.
The papers in this publication will be talks at the 3 day Gels in Conservation conference held by IAP in association with Tate. The conference will be a gathering of conservators, conservation and other scientists, and students of conservation to present and discuss the theory and practical use of gels in various branches of conservation (paintings, paper, wall paintings, textiles, museum objects etc).The papers and posters present in this publication cover topics on the theory of Gels, recent developments in Gel technologies, clearance and residues, systematic evaluation of Gel properties and effects, preparation and practical issues with case studies concerning: wall paintings, easel paintings, contemporary art, textiles, archaeological objects, paper, sculpture, mixed media, traditional materials and more.
