Browse Items (20 total)

  • Collection: Protecting Paper at the Palmer

Installation view showing Mary Cassatt's, Margot Wearing a Large Bonnet Seated in an Armchair, before and after conservation. Thomas Hart Benton's Spring Tryout is hanging on the right.

Installation view showing Parmigianino's St. Thais, before and after conservation.

Installation view showing Honoré Daumier's Shwell... this is what I call a shplendid job.... and for shust five chous per pound!... (Ché cha une belle chaudronnerie!... et qu'il y en a pour de l'argent cheulement à chinq chous la livre!....), as…

Not all newsprint is created equal. One of the more remarkable aspects of this page from the Parisian newspaper Le Charivari is how fresh it appears. Printed nearly 150 years ago, it bears very little of the yellowing that begins to occur with…

The principal damage in this study for a woodblock print attributed to Utagawa Kuniyoshi resides in the lower third of the sheet. The stain, typically called a tidemark, resulted from an exposure to moisture, which as it dried deposited a wave of…

The coloring of this engraving by Giorgio Ghisi represents a conundrum for the museum. The painting of prints—often by artists trained specifically for the purpose—became a common and perfectly acceptable practice as early as the fifteenth…

The foxing apparent in Johann Lips’ portrait of Brutus is quite similar to the staining that once compromised the John Frederick Kensett drawing, Catskill Landscape (Palmer Museum of Art, 98.86). Because it remains in an environment that prohibits…

This landscape by John Kensett was sent to conservation in 2009 for the treatment of foxing, pale-orange spots and splotches caused in this instance by the growth of mold. While the mold itself had been mitigated if not completely eradicated some…
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