Browse Items (20 total)

  • Collection: Protecting Paper at the Palmer

2004_56.jpg
This charming portrait of Margot Lux, a neighborhood girl whom Cassatt depicted on many occasions beginning around 1895, came to us laid down on an acidic board and mounted in an acidic mat. Although these materials did inflict a significant amount…

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Not all paper is created equal. This lithograph by Thomas Hart Benton suffered from all of the problems that had once inflicted the drypoint by Mary Cassatt (Palmer Museum of Art, 2004.56), though not by any means with the same severity. It was sent…

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Following the exhibition, Island Hay will be sent to conservation for treatment of the somewhat severe burning, but with the expectation that the results will be similar to what was achieved in Spring Tryout (Palmer Museum of Art, 91.80). Like most…

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Gerardo Belfiore’s Watts Street was transferred to the Palmer Museum in June 1994 from the College of Engineering, where it likely had been hanging in an office, exposed day in and day out to natural as well as artificial light, for nearly sixty…

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The complex burn pattern playing out across the margins of Martiniquaise indicates the etching was rematted on several occasions; unfortunately, in each instance with acidic materials. The paper itself is of fairly high quality, so normally we might…

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Insects can be a serious threat to works on paper. For prints such as the Parmigianino St. Thais on view here, the culprits were likely silverfish, which ate their way through a portion of the image to get at the sizing, the natural glue or gelatin…

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This study for a WPA mural, now lost but probably executed somewhere in Michigan (George Fisher was a longtime resident of Detroit), was donated to the Palmer Museum in the condition as it is seen here. The adhesive residue that surrounds—and at…

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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…

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Float washing may be the solution in reducing the tidemarks on this page from the third volume of Theodor de Bry’s Americae. The ink employed to print the engraving and its accompanying text is certainly insoluble; however, the print’s hand…

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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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