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Stripping the Land Bare – Conservation and Restoration of William Smith’s 1815 Geological Map of England and Wales

On August 1st, 1815 arguably the most important map ever produced in the United Kingdom was published. It proudly announced itself to the world as “A DELINEATION of the STRATA of ENGLAND and WALES with part of SCOTLAND; exhibiting the COLLIERIES and MINES; the MARSHES and FEN LANDS ORIGINALLY OVERFLOWED...

By Nicholas Burnett, Director, Museum Conservation Services Ltd, Ken McNamara, Director, Sedgwick Museum, University of Cambridge, Sarah Finney, Conservator, Sedgwick Museum, University of Cambridge

Innovations in Sealed Packages: Hugh Phibbs’ Presentation Crib Sheet

Included within the document link below are notes from Hugh Phibbs talk, “Reconsiderations; enclosing to create a better preservation environment” at the Innovations in Sealed Packages event hosted by Tru Vue and John Jones, June 2015. At this event, and the museum and gallery visits arranged by Tru Vue...

By Hugh Phibbs, preservation consultant, and Dr. Jennifer Booth, Tru Vue Fine Art and Museum Business Manager

Solution For Scanning Curled Film Negatives

Since the establishment of its in-house (AIF) digitization project in 2010, the Arab Image Foundation has been engaged in the accurate color and tone reproduction of its collection of photographs. In recent years, the digitization has been led using the Epson Expression 10000XL flatbed scanner. The AIF digitization standards include...

By Charbel Saad, Collection Manager, Arab Image Foundation

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Panel Talk: Innovations in Framing and Sealed Packages

With an ever increasing focus upon continued professional development, at a time when institutional budgets are only getting tighter, Tru Vue has recognised the need for educational support within the arts and heritage world. On Thursday 11th June, Tru Vue arranged renowned speakers and, together with John Jones, hosted an...

By Dr. Jennifer Booth, Tru Vue Museum and Conservation Liaison

Tru Vue at Taliesin

In 1911, Frank Lloyd Wright began his home, Taliesin, in Spring Green, Wisconsin. Taliesin, a Welsh word meaning “shining brow,” acknowledges its perch on the brow of a stately hill. This hill captivated Wright as a teenager working on the surrounding farms of his Welsh maternal relatives, the Lloyd-Joneses. Wright...

By Ryan Hewson, Collection and Preservation Project Manager, Taliesin, Frank Lloyd Wright Foundation

Protecting Framed Works From Heat and Smoke

Thankfully, fire is rarely seen in institutions that preserve our cultural treasures. Museums, archives and libraries are designed and operated to have minimal fire load. They also are monitored with utmost care. Unfortunately, private collections may not take the same precautions and there also are dramatic exceptions to this in...

By Hugh Phibbs, Preservation Consultant & April Hann Lanford, Vice President of Client Services at The Conservation Center

Investing in Education and Advocacy: A Partnership to Preserve the Photographic Heritage of Africa

Photography collections across Africa – 19th-century albumen images, silver gelatin black-and-white prints, glass plate and film-base negatives, contemporary color, and digital media – provide a vibrant cultural and archival resource to their local societies. When preserved and made accessible via traditional media platforms, these images have the capacity to improve...

By Debra Hess Norris, Unidel - Henry Francis DuPont Chair of Fine Arts, Chair and Professor, Art Conservation Department, Director, Winterthur/UD Program in Art Conservation

Protecting and Presenting Photographic Exhibitions at the Art Institute of Chicago

Josef Koudelka: Nationality Doubtful debuted at the Art Institute of Chicago (AIC) in June 2014 as the Czech-born, French photographer’s first retrospective in the United States since 1988. The show is the first ever to emphasize Koudelka’s original vintage prints, period books, magazines and to present significant unpublished studies by...

Disaster recovery: Fire and soot damage

Fire-related disasters result in a complexity of problems from chemical and physical damages, and from the extreme sensitivity of handling soot-covered and burnt objects. Heat, charring, smoke, soot, ash, water and chemical extinguishers contribute to deleterious affects on all types of materials. Soot is the black oily and solid residue...

By Susan Duhl, Art Conservator/Collections Consultant