[SOA] Free webinars ICA-Art Conservation November/December

[Carleton, Janet]

Scroll down to the bottom for free collections care webinar info: Caring for Sacred Objects (12/8) and Caring for Silver (12/15). Registration required.

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Janet Carleton| Digital Initiatives Coordinator | Digital Initiatives | Mahn Center for Archives and Special Collections, Preservation & Digital Initiatives | OHIO University Libraries | Alden 333 | Athens, Ohio | 740.597.2527 | carleton at ohio.edu<mailto:carleton at ohio.edu> | https://media.library.ohio.edu<https://media.library.ohio.edu/> | she/her/hers

From: ICA - Art Conservation <hwitchey+ica-artconservation.org at ccsend.com>
Sent: Tuesday, November 30, 2021 11:29 AM
To: Carleton, Janet <carleton at ohio.edu>
Subject: ICA-Art Conservation November/December Newsletter


Volume 17 | November 2021

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November/December 2021
News and Updates

ICA - Art Conservation for the Nation

Visit our Website<https://nam11.safelinks.protection.outlook.com/?url=https%3A%2F%2Fr20.rs6.net%2Ftn.jsp%3Ff%3D001_x7lWJktt9on76UOUX6RY-am4CCITH1SYQJb-VBUrgGAI6P5guXrs4KoQO-QvDs6GtVqvBsJqAT9jgIx3eVEaqZMFtwp5zAivuaYzfiNlZhUIQj0NNFXy1ako8XP3dqPVTwhOTY1o_1D9Ihuy36CENCC8SxzuGT6%26c%3Dz-3zOb_TXhQokar0hIvdF-WkxFUBDagzFLisaxPzG_GRhF0GUTBXjg%3D%3D%26ch%3DAAC6osmlaVdJrqdI1HcEa7htDj6KZGsX_fuAVVGmlMVceRvhtFo3tA%3D%3D&data=04%7C01%7Ccarleton%40ohio.edu%7Cf4432872cf004865d92908d9b41e86c4%7Cf3308007477c4a70888934611817c55a%7C0%7C0%7C637738865473982650%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000&sdata=tawyFDH7EhuRsVFF7htCTJwk4FBVKYzElQq93IPWagM%3D&reserved=0>




MEET KATE MONTLACK
ICA's New Director of Collection Services


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Photo by ICA staff member

ICA is very happy to announce that ICA's new Director of Collection Services is Kate Montlack. Kate is a museum professional with 15 years of experience in a broad range of departments, including public programs, education, membership and development. However, the care and stewardship of art objects is her true love and for the past 10 years, she has manifested this passion by overseeing all aspects of registration and exhibition management for moCa Cleveland as the museum’s Director of Exhibitions.

At moCa, Kate stewarded the planning and installation of nearly 100 exhibitions ranging from experimental sound and video to delicate works on paper and ceramics, and from monumental site-specific sculptural installations in wood, metal, and shea butter to magnetized gourds. While Kate has devoted the past decade to contemporary art, her educational background is rooted in the history of decorative arts and design, and it is this long-standing interest that drew her to ICA. Kate earned her M.A. from the Bard Graduate Center for Studies in the Decorative Arts, Design and Culture and her B.A. from Mary Washington College. She lives in Cleveland Heights with her husband and 5-year-old daughter. We are glad is part of the ICA team!


CARING FOR YOUR SILVER
ICA presented "Caring for your Silver" on November 10 with 46 participants.
Missed it? We will be offering it again on Dec. 15.
The program is free, but registration is required. Register here. <https://nam11.safelinks.protection.outlook.com/?url=https%3A%2F%2Fr20.rs6.net%2Ftn.jsp%3Ff%3D001_x7lWJktt9on76UOUX6RY-am4CCITH1SYQJb-VBUrgGAI6P5guXrs-zTwxEOaGMi33PTO01vP67gK2-jcdU2DOJ5jnUFmofB131l8M-yGwdrbxQ4nxtUyf_r2tFHcn7dz3T1DCU3HojeiU4Dkk-iytKk8PoM9POBn0aBhGKZ-rbsKfAbijMscEN0QE_lNKRg6KMWSa_-969pfhg1lJs-yz1RSIVuw7Pe%26c%3Dz-3zOb_TXhQokar0hIvdF-WkxFUBDagzFLisaxPzG_GRhF0GUTBXjg%3D%3D%26ch%3DAAC6osmlaVdJrqdI1HcEa7htDj6KZGsX_fuAVVGmlMVceRvhtFo3tA%3D%3D&data=04%7C01%7Ccarleton%40ohio.edu%7Cf4432872cf004865d92908d9b41e86c4%7Cf3308007477c4a70888934611817c55a%7C0%7C0%7C637738865473987627%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000&sdata=nvPXQ05eAqjzHdUPLUh7OvZKEl1Eo2yCNH%2FcGSrXBiU%3D&reserved=0>

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Silver is a lustrous, warm metal that is produced in many alloy compositions and used to make a wide array of decorative objects. Silver can be gently dusted with soft natural bristle brushes or soft cotton cloths. It can also be washed with mild detergent in warm water, then carefully rinsed and dried. Silver can also be safely polished with an inexpensive, natural, nontoxic polish mixture – one that is actually recommended by conservators!

Photo ICA staff

Before attempting any cleaning, check to be sure your item is structurally sound and doesn’t have any original or later coatings or special surface treatments. If it is sound and has no coatings or special surface treatments, you can dust, wash and even polish safely. The important thing to remember is that dusting, and even washing, silver can cause scratches on the surface of the metal so all of your cloths, tools, and cleaning compounds need to be very clean and your efforts gentle. Do not use plastic scrubbing sponges; they are too aggressive and will badly scratch the surface of your silver.

Silver tarnish is a corrosion product that forms on the outermost layer of a silver object as a result of exposure to sulfur in the air. The sulfur comes from car exhaust, industrial pollution, cigarette smoke, fires, rubber products like carpet pads, and sulfur-containing foods like eggs and avocados. The sulfur combines with silver ions and forms silver sulfide, which is black. When the silver sulfide layer is very thin it can also appear grey, pink, blue, and brown in color.

When we polish silver, we are physically or chemically (in the case of dips) removing the entire sulfide layer – so we are actually removing the outer surface of the object. This is why conservators consider commercial silver polishing compounds or dips too aggressive. The first step should always be to wash the object. It is amazing what washing with a warm dilute detergent and water solution and soft cloth can do to enhance appearance with very little loss to the object!

If we have to polish the surface, we use a slurry of precipitated calcium carbonate powder in a dilute detergent solution. Calcium carbonate is a common mineral found in rocks, shells, bones, etc. Calcium carbonate is non-toxic and safe to ingest and is even found in dietary supplements. The precipitated form is produced in a special way so that all of the particles are the same size and have a smoother shape -- preventing undue scratching. Despite this, extreme care is still needed to prevent scratching and unnecessary wear to the surface. After polishing, washing, and drying, silver that will not be used for eating and drinking can be waxed or coated with a special resin to slow down and prevent the tarnishing process. These coatings work by excluding sulfur and other gaseous contaminants.

Silver can be stored in silver cloth, a special textile which is impregnated with compounds that absorb sulfur. Silver can also be stored in food-grade polyethylene bags – never in cling wrap which will cause it to corrode! If padding is needed, acid-free tissue paper can be used.

For more about how to care for your silver, give us a call at ICA!


Sacred and Devotional Art
ICA conservators often work to care for sacred and devotional works of art and objects. Some of these works are highlighted below and if you'd like to learn more join us for a free online webinar "Caring for Sacred Objects" on Wednesday, December 8 at 10:30 am. Register here.<https://nam11.safelinks.protection.outlook.com/?url=https%3A%2F%2Fr20.rs6.net%2Ftn.jsp%3Ff%3D001_x7lWJktt9on76UOUX6RY-am4CCITH1SYQJb-VBUrgGAI6P5guXrs-zTwxEOaGMidRv3fS3Cmmbh_Jsk9PkfkgBnpq4l3QmFi4VTlNszBMxNEQPxYaZYMA625nlmZi639wUI0Wb9fOpKncQDUSYfct3iEdbJHllqKf9oNdUzKJd4BJZ-0O065amqeW0eVnEY_bz9lnjFjE6Dnp8VmnZH76zaFQPhELSk%26c%3Dz-3zOb_TXhQokar0hIvdF-WkxFUBDagzFLisaxPzG_GRhF0GUTBXjg%3D%3D%26ch%3DAAC6osmlaVdJrqdI1HcEa7htDj6KZGsX_fuAVVGmlMVceRvhtFo3tA%3D%3D&data=04%7C01%7Ccarleton%40ohio.edu%7Cf4432872cf004865d92908d9b41e86c4%7Cf3308007477c4a70888934611817c55a%7C0%7C0%7C637738865473992609%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000&sdata=%2FLMko2yk0E17CeypejqDlgl0qLCGn%2F3tNOiXNi99Ti4%3D&reserved=0>


Burning Bush by Lynn Kaye
B’nai Jeshurun Congregation, Beachwood, Ohio



We love the Burning Bush and are careful to take good care of it so it should last for generations. Many people who come to services or other programs in that room -- or who see it on Zoom or stream -- comment to us about how beautiful it is. The imagery of the burning bush that is illumined with God's light is a very powerful image in our tradition that reminds us that God's light is always within us and around us
if we only tap into it.
Shalom,
Rabbi Stephen Weiss

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Artist Lynn Kaye (1932-2016) created the work, Burning Bush for the B’nai Jeshurun Congregation in Beachwood.

Her work is found on both sides of two painted doors that enclose the Torah ark.

The piece is large (each door is 12’ x 4’ and is painted on both sides) and depicts a colorful, abstract rendering of the burning bush that spoke to Moses (Exodus 3). Since the piece is in an actively used public space, over time it suffered minor damages including small losses to the paint and ground layers, scuffs, and dark splatters. The piece was conserved on-site, and after treatment, it looked cared for, brighter, and more vibrant.

A self-taught artist, Kaye was a graduate of Cleveland Heights High School and married to a local drug store owner. She maintained a studio in on Buckeye Road and later in Beachwood. Kaye painted primarily abstract compositions and portraits. Crooner Frank Sinatra owned one of Kaye's works.

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A class of children and an instructor learning in front of Lynn Kaye's Burning Bush
Photo courtesy of B'nai Jeshrun Congregation.




Chinese Bronze Buddha (11th-12th Century)
Allen Memorial Art Museum, Oberlin, Ohio



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Chinese, probably Yàoshīfó 藥師佛 (Medicine Master Buddha)
“Seated Buddha,” 11th-12th century. Bronze with traces of gilding
Allen Memorial Art Museum, R. T. Miller Jr. Fund in memory of Hazel Barker King, 1961.51

This Buddha, part of the collection of the Allen Memorial Art Museum, was brought to ICA for treatment at the end of 2020. After a thorough examination, ICA recommended that the sculpture receive an overall cleaning, a protective application of wax, and an option to repair two areas of damage on the proper right side: a cracked and misaligned ear and two missing fingers. The Museum elected to have the sculpture cleaned and waxed, and to repair the damaged ear, but they did not elect to repair the fingers based on curatorial research.

The Buddha had previously been identified as the Buddha of Infinite Light and was re-identified as the Medicine Master Buddha. The gesture, or mudra, of the raised hand, is more characteristic of the Medicine Master Buddha. Furthermore, in many images of the Medicine Master Buddha, he holds a small jar in his lower hand, resting on his leg. The damaged fingers may indicate that there was jar in his hand that broke off at some point along with the attached fingertips. As such, it was important to the Museum to have this damage visible to tell this object's story.

The figure was cleaned to remove accumulated grime and oxidation on the surface. Then wax was applied to protect the surface of the bronze from environmental changes and visitor interaction. The ear was stabilized and the crack aesthetically adjusted so the ear would appear whole when viewing the object overall. After a discussion with the Museum about the intended use and display of the Buddha, it was decided that a semi-permanent mount would be appropriate for this object. The design of the mount was developed in consultation with the curator and followed a style of octagonal base typical to the period.

The mount functions to support the object in storage and on display, and create a secure area for use in handling the object. This project is demonstrative of how conversations with the client regarding the significance and use can have a great impact on the type and scope of conservation treatment. The curatorial staff at the Allen Memorial Art Museum are currently in discussion with faculty about re-installation of the Asian religious works in their care.




Orthodox Icons of St. Nicholas
and the Mother of God,
Private Collection




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Photo courtesy Private collection


This summer, a private collector brought two icons to ICA for examination and possible treatment. She had found them in a second-hand store where they seemed out of place. Something about their presence, quality, and age spoke to her, and she purchased them. She hoped that ICA could tell her more about them.

Paintings conservator Wendy Partridge was able to identify one based on the inscription MP OY, an abbreviation of the Greek Mater Theos or Mother of God. Director of Education Holly Witchey, with help from a local scholar, was able to identify the other as St. Nicolas. The St. Nicolas icon appeared to be painted in egg tempera with possible oil glazes. The composition had many finely executed details, including the lines in the saint’s hair and beard and the embroidery pattern on the vestment. The Mother of God icon was executed in oil paint. Both appeared to date to at least the 19th century and possibly earlier.

Icons are used in Eastern Orthodox Catholic cathedrals, churches, and private spaces across the globe to enhance sacred practices. Icons are not objects of worship, but objects of veneration thought to provide a window to heaven and allow worshipers to focus their thoughts on the holy figure.

In consultation with the collector, ICA worked to address mostly structural issues. The Mother of God panel consists of two wooden boards which had come detached from one another. These were rejoined. Both objects had lifting paint that was secured, and both had a grime layer that was removed.

After treatment, the collector continued to research the icons, talking to several priests at three different Orthodox churches. As a result, she found out that the inscription carved into the back of the St. Nicolas icon was in Russian and contained names, a date, and a cost.

Now the icons are in the collector’s home, displayed in a traditional fashion on small individual shelves.




Tibetan thangka (19th Century)
Private Collector




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ICA was given an opportunity to assist in the preservation of a large painting on cloth that was once part of a 19th century Tibetan thangka, an object originally used for personal meditation or for instructing monastic students. Once the center part of a larger hanging, the panel depicts a standing male deity, The Celestial Man, in brilliant pigments, outlined in gold and surrounded by roundels depicting other deities and Buddhist narratives.

The condition assessment confirmed that the panel had been once part of worship practice. Repeated rolling and unrolling had created undulations in the painted “window,” and the cotton ground was stained from water damage, possibly from hanging on a damp wall. The mineral paint pigments were powdering and stitch holes around the borders of the image marked now-lost textile borders.

Although they are often found in Western collections where they are sometimes considered cultural works of art, thangkas are not only paintings. They are complex constructions with textile mountings that are important to their religious use. Much of its artistic intent is lost when they are deconstructed and the backing, brocaded fabric frame, cover, and scroll dowels discarded. Preserving the cultural and religious aspects of the painting was important while planning treatment, but it was equally important not to attempt restoration of any missing elements that would misinform its original use or present the painting in a non-Tibetan aesthetic.

Stable areas of paint and burnished areas of pigment were gently surface-cleaned then consolidated. After treatment, the panel was placed between two sheets of cotton blotter paper and lightly weighted for an extended period to reduce the deleterious effects caused by the distortions of repeated rolling.

To mimic the sewn tensions of the original construction, narrow strip-linings of cotton muslin were hand sewn to the edges of the panel’s reverse. A transparent green polyester filament was used for sewing, with running stitches passing through existing needle holes made during the previous mounting. The ends of the strips were overlapped rather than mitered, to reduce bulk.

A support board was prepared for a vertical display of the painting. Panels of fluted polypropylene board were padded with a layer of archival cotton batting then covered with a plain-weave cotton similar in structure to the ground cloth, providing a neutral, non-decorative background for the image.

A conservation adhesive and hand sewing were used to secure the edges of the painting to the support board. To allow the painted canvas to expand and adjust to seasonal environmental changes, the lower muslin strip was loosely secured to the mount with a horizontal row of tacking stitches. All conservation work was designed to be safely reversed should this be desirable in the future.



EDUCATION AND OUTREACH
Recent Events

Photos: ICA staff

Students Return to the Labs

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Oberlin College students tour ICA labs and learn to make fourfold enclosures
as part of their first-year Connect to Cleveland Experience

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Eleventh graders from the Columbus School for Girls
visited the labs on a recent trip to Cleveland



Caring for Silver: November Edition



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ICA offered the first of two online seasonal "Caring for Silver" workshops with a live silver polishing demo on November 10.
If you missed it, spots are still available for the second workshop on December 15, at 10:30 am.<https://nam11.safelinks.protection.outlook.com/?url=https%3A%2F%2Fr20.rs6.net%2Ftn.jsp%3Ff%3D001_x7lWJktt9on76UOUX6RY-am4CCITH1SYQJb-VBUrgGAI6P5guXrs-zTwxEOaGMi33PTO01vP67gK2-jcdU2DOJ5jnUFmofB131l8M-yGwdrbxQ4nxtUyf_r2tFHcn7dz3T1DCU3HojeiU4Dkk-iytKk8PoM9POBn0aBhGKZ-rbsKfAbijMscEN0QE_lNKRg6KMWSa_-969pfhg1lJs-yz1RSIVuw7Pe%26c%3Dz-3zOb_TXhQokar0hIvdF-WkxFUBDagzFLisaxPzG_GRhF0GUTBXjg%3D%3D%26ch%3DAAC6osmlaVdJrqdI1HcEa7htDj6KZGsX_fuAVVGmlMVceRvhtFo3tA%3D%3D&data=04%7C01%7Ccarleton%40ohio.edu%7Cf4432872cf004865d92908d9b41e86c4%7Cf3308007477c4a70888934611817c55a%7C0%7C0%7C637738865473997581%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000&sdata=PspLPvHeWa%2FcZefOViwWr%2B4neOaFoKJgQ1jZ8FqwFv8%3D&reserved=0>


Upcoming Programs

Two Free Webinars in December
Caring for Sacred Objects (Dec. 8 @10:30 am)
Caring for Silver (Dec. 15 @10:30 am)



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Free Webinar:
Caring for Sacred Objects

ICA conservators will be on hand to talk about some of their projects involving objects that are sacred or devotional in nature. From St. Nicholas to Buddha, the Burning Bush to a Tibetan thankga, and even ecclesiastical chasubles. We can answer your questions about how these objects are preserved and conserved.

December 8, 2021, at 10:30 am AM Eastern (US and Canada)

Register in advance for this meeting:<https://nam11.safelinks.protection.outlook.com/?url=https%3A%2F%2Fr20.rs6.net%2Ftn.jsp%3Ff%3D001_x7lWJktt9on76UOUX6RY-am4CCITH1SYQJb-VBUrgGAI6P5guXrs-zTwxEOaGMidRv3fS3Cmmbh_Jsk9PkfkgBnpq4l3QmFi4VTlNszBMxNEQPxYaZYMA625nlmZi639wUI0Wb9fOpKncQDUSYfct3iEdbJHllqKf9oNdUzKJd4BJZ-0O065amqeW0eVnEY_bz9lnjFjE6Dnp8VmnZH76zaFQPhELSk%26c%3Dz-3zOb_TXhQokar0hIvdF-WkxFUBDagzFLisaxPzG_GRhF0GUTBXjg%3D%3D%26ch%3DAAC6osmlaVdJrqdI1HcEa7htDj6KZGsX_fuAVVGmlMVceRvhtFo3tA%3D%3D&data=04%7C01%7Ccarleton%40ohio.edu%7Cf4432872cf004865d92908d9b41e86c4%7Cf3308007477c4a70888934611817c55a%7C0%7C0%7C637738865474002560%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000&sdata=V1Y2BJCzryjGwTKkpq%2Fg9VF85%2BCStgdmIXN5q42M8H4%3D&reserved=0>

After registering, you will receive a confirmation email containing information about joining the meeting.





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Free Webinar:
Caring for Silver

As the holidays approach, it is the time of year (and for some of us the only time of year) when family silver makes an appearance on the festive table.

For years, you may have been using your great-grandmother's secret recipe or an over-the-counter silver polish to take the tarnish away.

Come spend an entertaining and educational hour with Claire Curran, ICA's Associate Objects Conservator. She will provide a demonstration of silver polishing as conservators practice the art, and talk about the care, handling, and storage of silver.

We promise you'll never look at tarnish the same way again.

December 15, 2021, at 10:30 AM Eastern (US and Canada)

Register in advance for this meeting:<https://nam11.safelinks.protection.outlook.com/?url=https%3A%2F%2Fr20.rs6.net%2Ftn.jsp%3Ff%3D001_x7lWJktt9on76UOUX6RY-am4CCITH1SYQJb-VBUrgGAI6P5guXrs-zTwxEOaGMi33PTO01vP67gK2-jcdU2DOJ5jnUFmofB131l8M-yGwdrbxQ4nxtUyf_r2tFHcn7dz3T1DCU3HojeiU4Dkk-iytKk8PoM9POBn0aBhGKZ-rbsKfAbijMscEN0QE_lNKRg6KMWSa_-969pfhg1lJs-yz1RSIVuw7Pe%26c%3Dz-3zOb_TXhQokar0hIvdF-WkxFUBDagzFLisaxPzG_GRhF0GUTBXjg%3D%3D%26ch%3DAAC6osmlaVdJrqdI1HcEa7htDj6KZGsX_fuAVVGmlMVceRvhtFo3tA%3D%3D&data=04%7C01%7Ccarleton%40ohio.edu%7Cf4432872cf004865d92908d9b41e86c4%7Cf3308007477c4a70888934611817c55a%7C0%7C0%7C637738865474007537%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000&sdata=f3DXnqWUoCASrxYTuAohS0NZrCwx%2FKRSkuwnk72mjbk%3D&reserved=0>

After registering, you will receive a confirmation email containing information about joining the meeting.



Thank you to
Fall 2021 Pre-Conservation Program Intern
Lily Duncan

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Since present-day conservators seldom execute full painting linings, we wanted to provide Lily with a chance to undertake a major treatment that many pre-program interns will never experience. --Andrea Chevalier, Director of Conservation

In October, pre-conservation program intern Lily Duncan got a first look at her main project, the lining and unlining of a painting from the ICA study collection. Lily lined this ICA study collection painting using BEVA 371 and a specialized heated vacuum table --a process once commonly used to stabilize the fabric support of paintings. The process is not often used today. After lining the canvas, Lily reversed the process and she and ICA's Paintings conservators noted the changes caused by the process.

Lily left us just before Thanksgiving and we all wish her the best as she continues along her path to becoming a conservator.


With Thanks to All of Our Generous Funders

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