2025 Poster Session: Full Schedule

Posters will be on display in the AIC Exhibit Hall on Thursday, May 29, and Friday, May 30. Poster authors will be at their poster for a Q&A session on Friday, May 30, at 3:30pm.

Banner photo by Lane Pelovsky, Courtesy of Meet Minneapolis

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3:30pm PDT

"Reviving King (𓈖𓅓𓎛𓂋𓎛𓅱( Mrnptah Gateway: The Role of the Conservator and Mounting Specialist in Restoring the Gateway After Damage and Reinstallation in Collaboration with the Engineering Unit.

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This study presents the restoration of King (𓈖𓅓𓎛𓂋𓎛𓅱( Mrnptah gateway from the New Kingdom, initially discovered in Mīt Rahīnā and subsequently transported to the Egyptian Museum in Cairo before being relocated to the Grand Egyptian Museum (GEM). The gateway suffered significant damage, being divided into over 40 pieces, and consisting of three main sections: two columns rising over 4 meters, and a third section above the columns.

The process began with the discovery of the gateway in Mīt Rahīnā, followed by its transfer to the Egyptian Museum in Cairo, where it remained neglected and inadequately displayed. It was then moved to the GEM, where it was stored in a severely damaged condition.

At the GEM, the gateway underwent a meticulous cleaning process by the conservator, who removed grime and contaminants, revealing intricate decorations and inscriptions. This cleaning enabled the archaeologist to decode and translate the inscriptions and drawings, uncovering significant historical secrets.

Following the cleaning and documentation, the pieces were reassembled, and restoration work was completed. The gateway, being divided into large sections, required special interventions for the third section above the columns.

Due to the damage to the columns, mounting techniques were essential to support the third section. The role of the mounting specialist and the engineering unit was crucial in providing the necessary support to lift and properly display the gateway, highlighting the importance of interdisciplinary collaboration in preserving cultural heritage.

Newly discovered secrets were revealed during the restoration and cleaning process, which will be showcased in an upcoming exhibition. This adds significant value to our historical understanding of the gateway and enhances appreciation of King (𓈖𓅓𓎛𓂋𓎛𓅱) Mrnptah cultural legacy.

Speakers

Mahmoud Fathy

Grand Egyptian Museum

Mahmoud Fathy is a highly skilled conservator and mount-maker, specializing in the preservation of cultural heritage. Born in 1984, Mahmoud graduated from Cairo University in 2002 with a degree in Archaeology from the Department of Conservation, earning a very good grade with honors... Read More →

Ibrahim husin

Fathy Mahgoub

Authors

Fathy Mahgoub

Ibrahim husin

Mahmoud Fathy

Grand Egyptian Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

(Re)constructing the Plaster Print: Tracing an Elusive History

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Plaster, as a material, has been used for centuries in diverse practices, from casting multiples to creating sculptural forms. This project focuses on plaster prints—works that are singular in their uniquely carved and painted surfaces and multiple in their inextricable relationship to printing matrices. Historically, plaster prints were used to proof or create impressions without the need for a press. Atelier 17, an innovative printmaking studio that was active in Paris and New York in the mid-twentieth century, significantly expanded upon the plaster printing technique. Artists such as Stanley William Hayter, John Ferren, and Anne Ryan worked in this medium, carving and painting their prints after the initial impressions to produce unique works of art. Hayter, who was the founder of Atelier 17, and his contemporaries emphasized that they were not inventing new techniques but rather building on existing ones in a collaborative and experimental environment. Plaster prints have largely fallen into obscurity today, complicating their connoisseurship and preservation. Using reconstruction as our primary method, our project aims to highlight the materials and techniques originally used in the creation of these prints, which can support our understanding of and care for the extant oeuvre of plaster prints created at and around Atelier 17. Our work benefitted from collaboration with art historians, artists, and paper and objects conservators. Bringing insights from these various fields of expertise, we hope to revive interest in this technique, making it accessible to a new generation of artists while underscoring the important contributions of the Atelier 17 printmakers.

Speakers

Emily Jenne

Authors

Emily Jenne

Lisa Conte

Lucia Elledge

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

.Restoration and Assembly of a Terracotta Statue of the Deity Bastet from the Old Kingdom: An Analytical Study of Restoration Techniques and Materials Used

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Terracotta statues represent a significant aspect of ancient Egyptian heritage, showcasing the artistic and manufacturing techniques of the era. Among these statues, the deity Bastet holds particular importance due to her cultural and religious significance. This study aims to provide a comprehensive analysis of the restoration and assembly of a terracotta statue representing the deity Bastet from the Old Kingdom, through a practical study focusing on restoration techniques and materials used. Condition of the Statue The statue under study is an ancient terracotta artifact that was broken into several pieces. The broken parts were found in a disorganized state, necessitating a precise assembly process to restore the statue to its original form. Following the assembly, restoration operations were carried out to complete the missing parts and reinforce the statue’s structure to ensure its stability .Restoration and Assembly Processes The restoration process involved the following key steps: Cleaning the Parts: Dust and organic materials were removed from the broken pieces using precise tools and advanced cleaning techniques to maintain the quality of the terracotta. Assembly: The broken parts were carefully assembled using specialized adhesive materials suitable for the type of terracotta to preserve the integrity of the piece. Completing Missing Parts: Similar terracotta materials were used to fill in gaps and restore the missing sections to recreate the statue’s original shape. Conducted AnalysesTo ensure the quality of the restoration and examine the condition of the statue post-assembly, several analyses were conducted as follows: Chemical Analysis: Spectral analysis was used to determine the chemical composition of the terracotta and ensure there were no incompatible additives. Results showed a good match with the original materials. Mechanical Analysis: Hardness tests were performed to evaluate the strength of the statue after assembly. Results indicated that the statue retained its hardness and could withstand mechanical pressures. Microbiological Analysis: The statue was analyzed to ensure it was free from harmful microbes. Results were reassuring, with no microbial contamination detected. Thermal Analysis: Thermal expansion tests were conducted to assess the statue’s stability under varying temperature conditions. Results showed good stability, indicating successful restoration. Structural Analysis: The statue was examined under a microscope to study its fine structure and ensure no major structural defects. Microscopic images showed a cohesive structure free from significant flaws. Results and RecommendationsThe analyses demonstrated that the statue had largely regained its original quality following the assembly and restoration process. The materials used in the restoration were compatible with the original materials, contributing to the preservation of the statue’s shape and primary function. However, regular monitoring of the statue is recommended to prevent any future issues.This study exemplifies how to handle broken terracotta artifacts and highlights the importance of integrating modern restoration techniques with scientific analyses to preserve cultural heritage. The conducted analyses provide valuable insights into the quality of the restoration and confirm the success of the process in returning the statue to its previous state, thereby enhancing the preservation of cultural heritage and ensuring the continued value of the historical artifact.

Speakers

Shaimaa Hemid

Conservator, The Grand Egyptian Museum

Shaimaa Hemid is a senior conservator - inorganic lab conservation center and currently she has been an integral part of the Monuments Transportation Unit since 2020. Her expertise in the careful handling and preservation of ancient artifacts has made her a valuable member of the... Read More →

Mamdouh Tahoun

Authors

Abd Alkader Jaballah

Alla Mohesn

Mamdouh Tahoun

Mohamed Gharsdeen

Shaimaa Hemid

Conservator, The Grand Egyptian Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

A Brighter Future for Cultural Heritage: The Role of AI in Preservation and Its Implications

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Cultural heritage, encompassing tangible artifacts, monuments, and intangible traditions, is a testament to humanity's history and identity. Preserving this heritage is paramount, yet it faces numerous challenges from natural decay, environmental factors, and human interference. In recent years, Artificial Intelligence (AI) has emerged as a transformative tool in the preservation of cultural heritage, offering innovative solutions to age-old problems. This paper explores how AI is shaping a brighter future for cultural heritage preservation, delving into its applications, advantages, and potential drawbacks.AI technologies, such as machine learning, computer vision, and natural language processing, are being increasingly applied to digitize, analyze, and restore cultural artifacts. Through AI-driven processes, museums and preservationists can predict degradation, simulate restoration outcomes, and enhance the accessibility of cultural assets to the public. AI enables the creation of digital twins, which serve as accurate and detailed replicas of physical artifacts, ensuring their preservation even in the face of physical loss.However, the integration of AI in cultural heritage preservation is not without its challenges. Ethical considerations, such as the authenticity of AI-generated restorations, data privacy concerns, and the potential for reduced human involvement, pose significant questions. Additionally, the reliance on AI may lead to disparities in the preservation efforts between technologically advanced and less-developed regions, exacerbating global inequalities in cultural heritage management.This paper presents a balanced analysis of the advantages and disadvantages of AI in cultural heritage preservation. It argues that while AI holds immense potential for safeguarding the past, a careful and ethical approach is required to ensure that its implementation enhances, rather than undermines, the integrity and accessibility of cultural heritage for future generations. The discussion is particularly relevant for policymakers, technologists, and heritage professionals aiming to harness AI in a responsible and effective manner.

Speakers

Mariam Elreweny

Ain Shams University

Mariam Hany is an ambitious and dedicated student currently enrolled in the Faculty of Computer Science at Ain Shams University, Cairo, Egypt, where she is pursuing her undergraduate degree from 2024 to 2028. A graduate of Rajac Language School with a strong academic background, Mariam... Read More →

Authors

Mariam Elreweny

Ain Shams University

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

A comparative study of essential oils used in papyrus sterilization, with a case study from the early Islamic period

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The study was conducted on a papyrus housed at the Museum of Islamic Art in Cairo, Egypt. This papyrus was inscribed with black ink. Twelve fungal species were isolated and identified. Five types of fungi were ultimately identified to complete the study. The isolated fungi were then incubated for three months after the aging procedure.This study investigates the in-vitro growth inhibition of Aspergillus niger, Aspergillus flavus, Penicillium chrysogenum, Trichoderma longibrachiatum Rifai, and Paecilomyces variotii on papyrus. The hyphal growth was observed using the environmental scanning electron microscope (ESEM). Natural oils, such as lavender oil, lemongrass oil, and rosemary oil, were used.Five concentrations were used for each type of oil usedThe impact of these natural oils on the newly aged papyrus was assessed using scanning electron microscopy and color analysis to identify the most effective oils for inhibiting fungus growth.Keywords: Conservation, Papyrus, Fungi, Growth, Environmental, Essential Oils.

Speakers

Bahaa fawwaz‬‏

Authors

Bahaa fawwaz‬‏

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

A comprehensive analytical study on a bronze statue inlaid with gold of the god Osiris – The Grand Egyptian Museum.

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The god Osiris is one of the iconic figures of ancient Egyptian civilization. He is the god of fertility, resurrection, and judgment, as well as the chief of the court of the dead during that period. Osiris was the brother of Isis, Nephthys, and Seth, and he married Isis. The statue of the god Osiris is made of bronze inlaid with gold on the eyes and chest, dating back to the Late Period (664-332 BCE). It is one of the rare and valuable pieces. Osiris is depicted standing on a rectangular base, wearing the Atef crown and holding the crook and flail in both hands. It was discovered in a tomb at Saqqara, Giza Governorate (including Memphis) in Upper Egypt. It was moved to the Egyptian Museum in Cairo, and recently to the Grand Egyptian Museum – Conservation Center, with accession no. 5070. The object suffers from corrosion, damage, and wax, as it is covered by a thick layer of corrosion products, predominantly dark green in color, along with soil deposits. There is an unusual fracture at the foot area. The object was examined visually, and its manufacturing method was analyzed, including the direct lost-wax casting technique on the object’s surface, using a variety of comprehensive analytical techniques. The analyses confirmed that the object was made from a bronze alloy inlaid with gold, and the presence of tin and lead has affected the mechanical properties of the alloy, contributing to its deterioration. The conservation procedures for the object included mechanical cleaning to remove the surface rust layer and reveal the thin protective patina on the metal surface. The surface was then treated with a rust inhibitor after the mechanical cleaning, followed by a final application of a protective coating to shield the object from any future deterioration factors. It is currently on display in one of the halls of the Grand Egyptian Museum.

Speakers

Mamdouh Ahmed

Shaimaa Hemid

Conservator, The Grand Egyptian Museum

Authors

Elhussein Ahmed

Mamdouh Ahmed

Shaimaa Hemid

Conservator, The Grand Egyptian Museum

Walid Nagi

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

A practical approach to incorporating modern/contemporary artworks into daylit permanent collection spaces

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Carnegie Museum of Art, located in Pittsburgh, Pennsylvania, is a modern and contemporary focused collection whose collection, since the institution’s founding in 1895, has been largely built up by collections from its semi-regularly Carnegie International exhibition of contemporary art-making. For the past 50 years, the museum’s permanent collection has been displayed within a dedicated 60,000 sq. ft., the Sarah Mellon Scaife Gallery. Designed by architect Edward Larrabee Barnes and opened in 1974, the new extension from the museum’s 1907 beaux-art building doubled the museum’s public exhibition spaces with long, corridor style galleries lit by a combination of electric and natural lighting from overhead skylights and clerestories. In alignment with new guiding ambitions established by its 2022 strategic plan, the museum is actively undergoing a phased reinstallation of its permanent collection galleries. With a stated goal of sparking new possibilities for the 21st century museum, the new collection layouts aim to provide a reexamination of inherited narratives, histories, and ways of seeing, through two main strategies. First, the reinstallation builds around thematic layouts, discarding previously chronological arrangements. As such, proposed gallery layouts incorporate, side by side, artworks from a variety of time periods and artistic mediums. Second, the cross-departmental curatorial team seeks to expand the types of objects able to be shown in the Scaife Galleries, previously limited only to oil paintings and insensitive sculptural media due to a limited understanding of the amount and intensity of the space’s shifting daylight conditions.

Along with their regular survey and treatment activities to prepare for a major collection changeover, Carnegie Museum of Art conservation staff were tasked with developing a plan to allow for the safe and considerate incorporation of more modern and contemporary art and design objects into a space largely intended for the showcasing of traditional oil paintings. An important directive alongside this was to maintain the architect’s desired pellucid mixture of natural and artificial lighting, meaning that natural light could not be excluded from the gallery spaces altogether. Additional challenges included budgetary limitations that ruled out the outright replacement of the galleries’ existing static LED lighting track, as well as advanced, costly interventions to limit the ingress of natural light (such as smart window films or daylight responsive controls. Planning started with understanding existing daylight conditions. The incorporation of Conserv brand data loggers allowed the museum to readily view cumulative light data in different locations experienced over a year. A local firm, LAM Partners, assisted with data interpretation, transmission testing, and daylight modeling. Simultaneously, education was needed to shift the collections and curatorial staff, who had primarily discussed light levels as static (footcandle) numbers, towards an understanding of cumulative light damage and its calculation. Cumulative light calculations from the Conserv allowed us to develop approximate light level equivalencies between daylit and static galleries to aid this transition. A combination of strategies were employed, from traditional rotation scheduling, to strategic object placements within spaces, to the sourcing of supplemental exhibition copies of both two-and three-dimensional artworks from living artists.

Speakers

Mary Wilcop

Fellow in Objects Conservation, Yale University Art Gallery

Mary Wilcop is the Fellow in Objects Conservation at the Yale University Art Gallery. She was previously a third-year graduate intern in Objects Conservation at the Smithsonian National Museum of American History in Washington, D.C. Mary received her M.A./C.A.S. in Art Conservation... Read More →

Authors

Mary Wilcop

Fellow in Objects Conservation, Yale University Art Gallery

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

An Analytical study of a polychrome wooden coffin from the Late Period from the excavation site of Rass Algesr in Saqqara

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This paper describes the results of a multi-technological analytical protocol and conservation of a polychrome wooden coffin from the Late Period discovered in Rass Algesr, Saqqara, to identify the pigments and ground layer. The investigation utilized visual observation, optical microscopy (OM), scanning electron microscopy coupled with energy dispersive X-ray spectroscopy (SEM-EDX), Raman spectroscopy, and Fourier transform infrared spectroscopy. Wood identification was carried out. The results showed the use of yellow ochre α-FeOOH for the yellow-painted layer. Blue was Egyptian blue [Cuprorivaite (CaCuSi4O10)], red as haematite (α-Fe2O3), and white as calcite (CaCO3). The black pigment was carbon(C), the ground layer was calcium carbonate, the fabric layer was linen, and the binding was identified as animal glue.

The conservation of the wooden coffin included mechanical and chemical cleaning. Mechanical cleaning used soft brushes, while chemical cleaning used ethyl alcohol and water for the painted layer, stabilization of the separated gesso layer used primal AC33, and filling the cracks of the gesso layers used glass microballoon with Paraloid B72.

Speakers

Abdelmoniem Mohammed Abdelmoniem Mohammed Gomaa

Authors

Abdelmoniem Mohammed Abdelmoniem Mohammed Gomaa

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

An In-Depth Investigation and Conservation of lead coins from Egyptian Museum in Cairo, Egypt

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Abstract

coins are the mirror of any civilization, with its historical, economic, and political information, so it must be restored and cleaned to read the inscriptions and writings on it. Lead material is made of coins are toxic and very sensitive materials, so when restored, it must be made with great care and at the lowest intervention because the increase in restoration work at the permitted limit can lead to its distraction, given that it is a very soft material.

Several scientific methods have been used in documentation, examination and analysis, such as: photography with a modern high -quality camera and a microscopic examination to document the aspects of damage such as: corrosion products that appear white and yellow also analyzed with Portable X-ray fluorescence spectroscopy (p-XRF) which was determined the metal composition, which turned out to be mainly of lead, copper, iron elements and appearance Elements of corrosion products as: sulfur and chlorine.

After that, the restoration starts with mechanical cleaning by using the wooden stick, ultrasonic pen, and Bass, as the chemical cleaning was used by ethanol, Acetone, Hexametaphosphate and citric acid at a concentration of 3%, which gave an excellent result in removing corrosion products without affecting the patina and mineral metal. Finally, the protection was using the paraloid B-72 with a 3% concentration.

Keywords: coins, corrosion, lead, p-XRF, paraloid B-72, ultrasonic pen

Speakers

Raghda Mahmoud

Shimaa Mahmoud

Hytham Salih

Grand Egyptian Museum- Conservation Center (GEM.CC)

As a Conservator at Grand Egyptian Museum, I work in inorganic Lab such as: metals, pottery, and glass. • Participation in restoration of Tutankhamen’s collection and installing the holdings of Tutankhamen in display at the Grand Egyptian Museum. • Participation in restoration... Read More →

Authors

Hytham Salih

Grand Egyptian Museum- Conservation Center (GEM.CC)

Raghda Mahmoud

Shimaa Mahmoud

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

An Overture of Past and Present Conservation Challenges: Straits Settlement Police Band Scores

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The Straits Settlement (S. S) Police Band music scores collection was donated to the National Archives of Singapore (NAS) by the Republic of Singapore Police Force Band in 2016. It was a historically significant collection whose roots go back to the first local regimental band in Singapore (1925-1940s) during the British colonial office period, before it was renamed the Singapore Police Force Band, and continues to be known today. These 215 scores of western compositions were arranged for band music as the scores excluded string instruments. They were published across the 18th to 20th century, with the majority in the 1900s. The single and multiple-folio scores were printed primarily with carbon black ink on wove paper and ink-stamped with ‘S. S Police Band’, alongside with other handwritten media such as graphite pencil, coloured pencil, ballpoint pen, technical pen, and iron gall ink. Some of these markings revealed the multiple users over time.

The project started with a condition survey in 2018 involving four conservators from NAS’ Archives Conservation Lab (ACL). They set out to propose the conservation treatments, housing storage solutions and time required to conserve the entire collection. The overall survey report revealed that the collection was mainly in poor condition with Condition Rating (CR) range between two to five based on ACL CR’s scale of one (very good) to five (unacceptable conditions). Apart from tears and losses, the degradation of pressure-sensitive tape and adhesive labels applied by the user in the past rendered some items vulnerable to potential chemical deterioration. The comprehensive survey report and database enabled ACL to begin the challenging project by first selecting three scores assessed as CR4 and CR5 for conservation treatments, ‘Paraphrase– ‘Loroley’ by Nesvadba, ‘Plymouth Hoe–A Nautical Overture by John Ansell and, ‘Kissing Time’ by Ivan Caryll, in 2022. With treatment and technical complexities, the team worked together to discuss the treatment options to balance viability and preservation needs.

The Singapore Police Force Band project catalysed an opportunity for the conservators to deep dive into adhesive tape resulting from treatment experience, by embarking on an in-house tape removal training programme for the team to learn and conserve the rest of the scores. It further developed into a collaborative effort with NAS’ Sound and Moving Image Laboratory (SMIL), which handles audiovisual archives, in creating tape samples. The methodology used a climatic chamber to carry out accelerated aging of the different tape varieties to simulate their conditions found on the scores with complex tape issues. This approach helped to create realistic sample case studies for the team to practise and learn from. The project explores different considerations when embarking on challenging conservation treatments, from decision-making to formulating practical, sound and applicable conservation treatment proposals. It will also highlight the importance of building capacity for the conservators through immersive training, widening our knowledge by researching into the rich heritage of Singapore, and the invaluable process of collaboration with colleagues.

Speakers

Sanira Karim Gani

Jam Meng Tay

Conservator, National Library Board

Tay Jam Meng is a Conservator at the National Archives of Singapore (an institution of the National Library Board), overseeing Interventive and Preventive Conservation work for paper-based archival and library records. Jam Meng has over two decades of conservation experience in the... Read More →

Authors

Jam Meng Tay

Conservator, National Library Board

Sanira Karim Gani

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Analytical Study to Redefinition of the Historical origin of a World War II Military suit, Ismailia Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The process of redefining artifacts is a fundamental aspect of archaeology, as it aims to correct and update previous understandings about the origins and history of artifacts based on new scientific evidence. The need to redefine the history of an artifact may arise due to advancements in academic knowledge or the emergence of advanced analytical techniques that reveal previously unavailable information. Accordingly, the study aims to redefine the historical origin of a World War II military suit, which was officially documented as an American military uniform. a set of tests and analysis were used for this purpose, which included photographic documentation, pigment analysis, fiber inspection, and examinations of the textile fibers and cufflinks using optical microscopy, scanning electron microscopy, and X-ray analysis, as well as tracing the historical origins of inscriptions on the metal cufflinks and a dagger found with the suit, the study revealed compelling evidence refuting its American origin. Conversely, the results confirmed the German origins of the suit, from the design and fabric types to the inscriptions that affirm its German manufacturing source. This pivotal shift not only corrects the historical record but also enhances our understanding of artifact authenticity

Speakers

Naglaa Khalifa

Shimaa Menofy

Authors

Naglaa Khalifa

Shimaa Menofy

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Anoxia Disinfestation of a Chocolate Sculpture: Collaborative approaches and technics

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This session delves into the interdisciplinary process involved in preserving edible art, with a focus on a chocolate sculpture that faced an infestation issue. It provides a detailed case study that illustrates the challenges encountered when dealing with organic materials, especially those that are not only valued for their artistic merit but are also perishable due to their composition. The preservation of such materials demands innovative and careful approaches, balancing the need to retain their aesthetic and cultural value while addressing their vulnerability to pests and environmental factors.

The session opens with an overview of the project’s scope, goals, and key objectives. Participants are introduced to the chocolate sculpture, its significance, and the nature of the infestation that posed a serious threat to its integrity. This background sets the stage for the more technical and scientific discussions that follow, making it accessible even to those who may not have extensive experience in conservation science. A key part of the introduction is the emphasis on the interdisciplinary collaboration required to address the issue, involving experts from conservation science, art restoration, food safety, and engineering.

Following the introduction, the scientific principles behind anoxia disinfestation, a method used to treat the infestation, are discussed in detail. Anoxia disinfestation is a non-chemical process that eliminates pests by depriving them of oxygen, making it an ideal solution for treating organic materials like chocolate. The session explains the underlying biological principles that make this method effective, and presents data on its application in similar contexts involving organic art. The scientific rationale is further supported by evidence from past successful treatments of organic sculptures, ensuring that the audience gains a clear understanding of the method’s validity.

The technical setup and implementation of the anoxia disinfestation process are also explored. This part of the session provides an in-depth look at the equipment and technology required to create an oxygen-free environment around the sculpture, detailing the steps taken to carefully enclose the artwork without causing damage. It discusses the specific challenges faced during the process, such as maintaining a consistent environment, managing temperature and humidity, and ensuring that the treatment is thorough without compromising the integrity of the chocolate. Practical solutions to these challenges are offered, giving participants a realistic view of the logistical hurdles involved in such treatments.

One of the most critical sections of the session focuses on the ethical considerations involved in preserving edible art. While conservation ethics are well established in traditional art forms, preserving objects intended for consumption raises unique questions. Should edible art be preserved indefinitely, or does its nature as food imply a more temporary existence? These considerations are explored in the context of the chocolate sculpture, and participants are encouraged to engage with these questions in a broader discussion of conservation ethics. Additionally, the session explores the potential future applications of these techniques, looking at how anoxia disinfestation could be used in similar contexts for other organic art forms.

The session concludes with an open-floor Q&A, allowing participants to engage directly with the experts, raise concerns, or explore further avenues of inquiry. This interactive portion ensures a dynamic exchange of ideas and offers the opportunity for participants to deepen their understanding of the process.

Speakers

Vânia Assis

Authors

Filipe Duarte

Helena Abreu

Vânia Assis

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

ARCHAEOMETRIC STUDY OF A GILDED WOODEN ANTIQUE INLAID WITH STAINED GLASS FROM MOHAMED ALI DYNASTY"

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The Mohamed Ali Palace Museum in Manial includes a rare collection of gilded wooden antiquities decorated with stained glass dating back to the era of the Mohamed Ali dynasty. The research aims to find out how to preserve these rare types of antiquities. The research deals with an archaeometric study of a gilded wooden antique inlaid with colored glass that was found to be in a severe state of deterioration. Which led to weakness and peeling of the gilded surface layer, corrosion and loss of the preparation layer, and its exposure to infection and microbiological damage as a result of its organic nature. Also, the stained glass was lost and damaged, and many areas of it were eroded. Therefore, the study aims to identify the manufacturing method, its components, and the extent of damage to which the piece under study has been exposed. The research includes the technical and historical study and the manufacturing method of the piece under study, including the various materials it contains, whether wood, colored glass, or layers of gilding, as well as identifying the signs of damage that the piece suffers from and the previous restorations that have been performed on it. A portable digital microscope (USB digital microscope) was used to conduct inspections to determine the condition of the antiquity by examining various areas of the piece and capturing the places of cracks, loss, and previous restorations. An optical microscope was also used to identify the wood used in the piece under study, also by conducting a set of analyses using X-ray diffraction, X-ray fluorescence (XRF), FTIR infrared spectrometer, this is to identify the components of the piece under study.

The study results in arriving at important points, which are the factors and manifestations of damage to the piece under study, as well as the composition of the antiquities, which are as follows: acacia wood, a preparation ground made of gypsum and calcite; gilding and animal glue used as an adhesive medium; silica glass, lime, and soda, and their different color shades. It is known as synthetic soda or soda lime, in addition to identifying previous restoration materials and thus arriving at an assessment of the condition of the piece.

Speakers

YASMIN AHMED

Authors

Mohamed khedr

YASMIN AHMED

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Archeometry study 15th Century Islamic Paper Manuscript from Egypt: Investigation of A Multi-analytical Approach

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Paper has been in use in Egypt since the ninth century and manufactured locally since the tenth century. However, during the Mamluk period, various types of paper from other regions were also available on the market. This research investigates a precious 15th-century Egyptian Islamic paper manuscript entitled Fawaed El Mawaad "Table manners or benefits of tables," from the collection of Ain-Shams University. The research used various analytical techniques to understand the materiality of this manuscript. These included spectral imaging, a portable digital light microscope, a polarised light microscope, a scanning electron microscope (SEM-EDS), FTIR spectroscopy, X-ray fluorescence (XRF), and Raman spectroscopy. The results show that the paper is made from hemp fibers, using starch as a sizing material and calcium carbonate as a filler, using different types of black and mixed inks, and red ink in which vermilion (HgS) was identified. Interestingly, the manuscript used here was unknown and is mentioned for the first time. This copy is the second oldest among those used in previous studies to revise the text of the subject, only 213 years after its authorship.

Keywords: Arceometry study, Mamluk manuscript, investigation, hemp fiber, filler material, sizing material, black and red ink.

Speakers

Mona Gawish

Conservator, The Egyptian Museum

I operate as an archaeologist and manuscript and papyrus conservator working in an organic lab, and I've more than ten years of expertise in repairing and handling artifacts from archaeology. I possess an outstanding reputation for restoring organic materials such as papyrus, archeological... Read More →

Authors

Mona Gawish

Conservator, The Egyptian Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Are you thready for this? Collaborating with undergraduate students on a new textile-making studio course at the University of Delaware

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

One of the unique aspects of the undergraduate Art Conservation Department at the University of Delaware is its tradition of teaching students to appreciate original manufacturing techniques through hands-on studio courses. While many of our existing courses emphasize drawing skills, I wanted to create a space where students could learn about the history of textiles through direct engagement with intricate techniques. Last spring, I developed a textile-making course that focuses deeply on the process of making. This became a collaborative endeavor, enriched by the diverse expertise of my undergraduate students.

Much of my knowledge in textile crafts is self-taught, starting when my grandmother taught me to knit at the age of ten. However, I quickly realized that creating this course would benefit greatly from the input of some of my students who had their own extensive backgrounds in textile arts. Anne Clark brought her years of experience as a professional weaver in New Mexico; Sabrina Hettinger had over a decade of costuming experience for theater; and Hailey Kremenek recently worked on an exhibition focused on the conservation of fashion designer Ann Lowe’s gowns at Winterthur Museum, Garden & Library. Though they were all registered for the class, I also invited them to collaborate as teaching assistants, allowing them to lead class sessions and share insights that only someone with their background could offer. Collaborating with students in this direct manner is rare, especially in the development of a course, and it created a unique opportunity for peer-to-peer learning within an undergraduate setting.

The course involves weekly projects on different techniques, from felting to weaving to embroidery, with interspersed work days. Their final project consisted of a textile portfolio and a historical recreation project made using the techniques learned in class or based on a students' interests. Hailey taught herself how to make bobbin lace, another student recreated Kermit the Frog in felt, someone embroidered a moon rabbit in silk, and Sabrina created a panel of jewel beetling embroidery with gold work.

Their involvement did not just impact the course's first iteration; it has shaped its future. As I prepared to teach the course again this fall, I sought their input once again on what worked and what could be improved. Their contributions and enthusiasm have been fundamental to the course's development and success.

This paper aims to explore the power of collaboration within academia, particularly how working closely with students can lead to a richer, more dynamic learning experience. By drawing on the expertise of these undergraduate collaborators, we created a course that goes beyond education, rooting itself in historical craft techniques and the lived experiences of those involved. This experience reinforces the theme of this conference: that the skills and stories each person brings are invaluable, and that our field is made stronger through collaboration and the inclusion of diverse voices.

Speakers

Madeline Hagerman

Director, Undergraduate Program, Assistant Professor, University of Delaware

Madeline Hagerman is the Director of the Undergraduate Art Conservation Program and an Assistant Professor. She received her B.A. in history and anthropology with minors in European studies and material culture studies from the University of Wisconsin-Madison. She completed her M.A... Read More →

Authors

Anne Clark

Hailey Kremenek

Madeline Hagerman

Director, Undergraduate Program, Assistant Professor, University of Delaware

Sabrina Hettinger

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Artifact Storage Box

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

In the field of conservation and collections care, effective storage solutions are crucial for preserving artifacts while ensuring ease of access and handling. This poster presents a prototype of a storage box designed and constructed with the goal of addressing key challenges in artifact preservation. The design creates a solution for museums that is potentially mass producible in-house, utilizing conservation-approved materials to ensure long-term protection. The boxes are designed to accommodate artifacts around the size of a softball and address as many of the “agents of deterioration” as possible. Key features include:

A viewing window to minimize unnecessary handling. Standardized labeling to minimize potential custodial neglect.

Gasketed seal and provisions for silica gel to create a relative humidity buffering effect and keep dust and insects out.

Coroplast material that can protect against water spills.

A tray that is held secure within the box structure that can be equipped with a custom Ethafoam nest to address physical forces.

This approach aims to balance practicality with rigorous collection care standards, offering a robust solution for museum storage needs.

Speakers

Todd Holmberg

Authors

Todd Holmberg

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Better Together: A Case Study Demonstrating the Benefits of Collaborative Curation

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Abstract: AIC 2025

Better Together: A Case Study Demonstrating the Benefits of Collaborative Curation

Universities encompass various communities. When members of these communities combine efforts, they can achieve extraordinary results.

This presentation offers a case study showing anticipated as well as unforeseen benefits made possible by collaborative curation. Focusing on the Libros/Arte exhibit held at the University of Albany Museum during the fall of 2023, it considers how the cooperative conceptualization, organization, selection, and the realization of the exhibit maximized opportunities for outreach programming as well as for overall exhibit attendance.

The above process, conducted over two and a half years, involved an interdisciplinary team of eight university members. Bi-weekly meetings provided opportunities for learning about other fields, sharing information, and developing new skills. These meetings also encouraged participants to hone professional communication skills, and ultimately fostered a sense of trust among group members.

Conservators bring knowledge and understanding of various fields—cultural history, materials science, studio art—to their work and to all professional interactions. They are uniquely positioned to approach challenges from varied vantage points to obtain a solution. Working with other university experts in many fields, their efforts can help produce extraordinary results in terms of outreach potential and museum exhibit attendance. While these undertakings also offer all participants rich opportunities for learning and growth, the value of including conservators in these collaborations is a highlight of this presentation.

This study relies on procedural records and museum attendance data to establish the significance of collaboration on museum exhibit and related-event attendance. It also considers reflections from exhibit curation collaborator interviews regarding the value of their experiences.

The investigation shows that the number of outreach events scheduled for this particular exhibition, as well as the overall attendance numbers for Libros/Arte , exceed those of university museum exhibits held over the past three years. In addition, all members of the curation team expressed appreciation for the experience of working together, with ‘opportunity for learning’ being the most frequently cited benefit. The library conservator, in particular, with a broad base of knowledge, found great benefit in this experience.

In conclusion, the decision by the University at Albany Art Museum to engage in the collaborative curation of the Libros/Arte exhibit resulted in the development of a microcosm of an ideal university community: a place for conversation, collaboration, and growth.

Ann C. Kearney Coordinator of Preservation Services University Libraries University at Albany—SUNY akearney@albany.edu

Speakers

Ann Kearney

Conservator, SUNY at Albany Library

Ann Kearney is the Collections Conservator at the University at Albany. She has held this position since January, 2009.She began her work in the field as the Associate Conservator at Case Western Reserve University in Cleveland, Ohio. In 1987, she left this position to expand her... Read More →

Authors

Ann Kearney

Conservator, SUNY at Albany Library

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Black Ink identification on silk painting using digital microscopy

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This project began with the National Art Gallery of Singapore (NGS) planning an exhibition featuring one of Singapore’s pioneer artists, Cheong Soo Pieng. Held in 2024, the exhibition is unique as it reveals the techniques and materials used by Cheong Soo Pieng, and highlights the collaborative efforts of the Curator from the National Gallery of Singapore, Conservator and Scientist from the Heritage Conservation Centre (HCC), an institution of the National Heritage Board (NHB). Microscopic images and mock ups used in the investigation were displayed alongside with the artwork.

Cheong Soo Pieng, who was born and trained in Chinese and Western art in China, developed an artistic style that blends classical Chinese and Western modern art together. Arriving in Singapore in 1946, during its time as a British colony, he gained recognition as an accomplished oil painter. Despite his prominence, little is known about Cheong’s choice of materials as he hardly granted interviews. Adding to the enigma surrounding his artwork, the materials available to Singapore artists in the post war era of the mid-late 20th century are scarcely documented.

Amongst the artworks studied, the identification of black ink on Cheong’s painting “Drying Salted Fish” was the most intriguing. A National Treasure in the Singapore’s National Collection, the painting is dated to 1978 and is composed of unknown inks on sized silk support. It is unclear whether Cheong used Chinese ink, western watercolour or a mixture of both. Identifying ink on paper artworks poses several analytical challenges. The ink is thinly applied onto the fibrous structure and is not separable from the fibre in sufficient quantity for analysis. Black inks are light-absorbing and do not yield a good signal with spectroscopy. The different types of inks speculated are very similar in compositions. Due to the sensitive nature and the cultural importance of the painting, a non-invasive analysis was necessary.

Mock-ups of different types of black ink applied on silk support with starch lining were prepared. The ink selected comes from different brands of Chinese/Japanese liquid ink, Chinese/Japanese inkstick and Western watercolour. The dried mock-ups are examined using a digital microscope, revealing distinguishable visual characteristics between these three types of ink. No significant difference is observed across different brands of the same ink type. The digital microscope was also fitted onto a portable stand to examine the ink applied in different locations on the “Drying salted fish”. A comparison of the painting to the mock-ups suggests that Cheong used Chinese liquid ink, watercolour and inkstick in different areas of the artwork. This methodology can be used as a potential tool for non-destructive identification of ink on silk paintings. Further investigation and refinement of the methodology is currently underway.

Speakers

Siew Wah Lee

Senior Paper Conservator, Heritage Conservation Centre

Lee Siew Wah is a senior conservator (Paper) with the Heritage Conservation Centre, National Heritage Board of Singapore. She has been a conservator for more than 20 years, and received professional accreditation from The Institute of Conservation (UK) in 2012. She holds a degree... Read More →

Authors

Hui Min Teo

Lynn Chua

Siew Wah Lee

Senior Paper Conservator, Heritage Conservation Centre

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Blooming Solutions: Reviving Broken Plastics with 3D Printing

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

3D modelling and printing have emerged as valuable tools in conservation, enhancing documentation practices, offering reversible treatment solutions, and improving access to collections. While the use of modern materials in traditional fields of conservation can spark discussion over unknown origins or material compatibility, the conservation of modern materials, like plastics, presents a unique set of challenges. Plastics’ quick susceptibility to degradation and material losses poses significant trials for conservators. In response, photogrammetry and 3D printing offer novel documentation and treatment solutions, adaptable for small-scale losses and larger fill-element replacements. This is accompanied by scans that are part of the object’s documentation and can be kept in anticipation of future material failures.

Although initially daunting, 3D techniques can become a valuable tool for conservators through practice, academic papers, online resources, and conversations with colleagues. The wide range of available materials, printers, and alteration techniques enables conservators to tailor their approach in key aspects like material compatibility, aesthetics, and workability. This research continues to refine and validate methodologies and techniques for plastic conservation by applying 3D modelling and printing on a contemporary case study object. The object from the University of Amsterdam’s textile conservation studio exemplifies the vulnerability of smaller, thinner, and uniquely shaped hard plastics. The three-dimensional piece, a polyurethane stuffed blue velvet object by Dutch artist Harry Boom, features twenty plastic flowers on a circular base and are attached to the object via a small slit-like hole where a button sits. However, 7 out of 20 flowers have suffered losses. Both flower petals and entire flowers have gone missing but three fallen petals have been kept. These petals served as the basis for the digital reconstruction of the missing flowers, which is then being replicated through 3D printing.

Photogrammetry software (Agisoft) and 3D modelling software (Blender) were employed to digitally reconstruct the flower bud from images of the fallen petals. The process details how to build the models and utilize different supports to facilitate removal. A selection of printing materials is being compared to the original petals, evaluating their aesthetic qualities and material compatibility. Additionally, techniques such as sanding and retouching with paints will be explored to see how closely 3D-printed petals can mimic the original flowers. The advantages and disadvantages of these materials and alterations will be discussed and the best result will be selected to make the reconstructed flower. A comprehensive visual workflow accompanies the research, illustrating the entire process from photogrammetry scans to the final 3D-printed product. This research also draws on academic and online resources to demonstrate similar projects and conservation efforts and guide those interested in applying these technologies in their practice.

This research is currently ongoing and will be finished by December 2024.

Speakers

Patricia Navedo Garcoa

Authors

Patricia Navedo Garcoa

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Book speaks volumes: micro computed tomography of Mary Stuart’s prayer book binding

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

When the prayer book of Mary Stuart, Queen of Scots was delivered for conservation a question was raised if the binding of the prayer book can be restored to open it more easily, so that the sewing wouldn’t cause distortion of the vellum and misplaced pages could return to the proper location. I wanted to apply as many non-invasive tests as possible before physically touching the precious book itself and for this reason I decided to focus on computed tomography (CT) imaging.

My project benefits from collaboration of art conservation and nuclear physics similarly to patient-hospital relations through a harmless evaluation of the condition. Application of CT in bookbinding restoration is still very rare or non-existent and this project is pioneering. The goal was to develop CT imaging as a standard tool to diagnose and solve bookbinding restoration problems.

Most of the historical books have lost their original covers over the years or were rebound multiple times. CT imaging can offer real visible answers as to the original book structure instead of guessing them by the time and place of the book origin, never compromising the safety, allowing to verify and justify planned restoration procedures.

First CT scans were performed on a medical scanner at the hospital. Depending on the scan viewing program, different structures of the bookbinding were revealed but I needed a better resolution like the one of micro CT to distinguish the sewing thread course.

Micro CT scans were performed at the university, scanning the book spine took significantly longer but yielded great results.

The scan, although at first puzzling, exposed the true condition of the book after its 18 century rebinding - the pages’ spines were gone and needed a complete reconstruction to allow easy opening of the manuscript. Marks discovered on the book spine were interesting suggestions of the probable original 16 century binding. Also, they enabled me to precisely estimate the amount cut off from the edges of the prayer book.

CT has proved immensely useful as a pre-renovation book binding analyzing tool. Both methods - medical CT and micro CT have revealed various binding structures invisible to the naked eye. Medical CT scans are faster to perform, and can uncover different complex layers depending on which viewing filter is applied. Designed to show human organs in detail, they treat the book as such allowing it to peel off every layer, and show every tissue.

When searching for the specific and minuscule detail, micro CT proved much more accurate though. In the bookbinding it meant I could observe the sewing thread course, even if it was hidden deep in the spine or covered with a thick layer of glue or lining. Understanding the makings of a binding without touching or compromising the valuable object is a priceless opportunity. Developing micro CT scans as fully operational bookbinding diagnostic tools will be an immense asset in the conservation process.

Speakers

Anna Grzechnik

Authors

Anna Grzechnik

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Bridging Preservation and Digitization: Collaborative Approaches in Remediating and Preparing Folk-Legacy Records for Long-term Access

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This presentation will explore the collaborative effort between the Smithsonian Institution (SI) and the Northeast Document Conservation Center (NEDCC) in preparing the Folk-Legacy Records Collection for digitization. Folk-Legacy Records was a folk recording label founded in 1961 by Sandy and Caroline Paton and Lee Haggerty. Active for nearly 50 years, the label released over 140 albums of traditional music. Their archive spans 205 cubic feet and consists of a wide range of materials, including research notes, business records, film and photographs, and recordings on open-reel tapes, cassettes, and CDs. Smithsonian Folkways Recordings received the collection in 2019. Prior to its acquisition, it had been stored primarily in the Patons' home recording studio in Northwest Connecticut, where it was subject to a wide variety of environmental conditions. Faced with contamination from pests, mold, and debris, the project required a two-pronged approach: collaboration between SI and NEDCC, and interdepartmental teamwork at NEDCC, involving audio and imaging specialists.

We’ll discuss the initial condition assessment, NEDCC’s proposal process, and the development of a remediation plan. The dialogue between NEDCC and SI throughout the project was essential to tailoring the preservation strategy to SI's needs and the needs of the collection materials. Work at NEDCC was performed primarily by two departments: the Audio Department oversaw the remediation of the open-reel tapes and cassettes, while the Imaging Department dealt with the papers, photos and film, and electronic media. Along with returning the collection in a state where it could be safely integrated into the Smithsonian Institution, NEDCC delivered a folder-level inventory detailing the contents of each container.

This presentation will reflect on both the strategies used to remediate the collection, and the strategies that NEDCC used to ensure a final product that consistently reflected the wide variety of materials within the collection. Finally, we’ll reflect on the lessons learned from this vendor partnership and offer strategies for institutions seeking to engage with specialized vendors for large-scale archival preservation, particularly for non-emergency disaster recovery services.

Speakers

Hannah Rose Baker

Audio Preservation Engineer, Northeast Document Conservation Center

Hannah Rose Baker joined NEDCC in 2022 as an Audio Preservation Engineer. She is responsible for performing fully-attended transfers of obsolete magnetic audio tape and grooved media.Hannah has an MA in Folklore and Public Culture from the University of Texas at Austin, and a degree... Read More →

Dave Walker

Authors

Caroline Mulligan

Dave Walker

Hannah Rose Baker

Audio Preservation Engineer, Northeast Document Conservation Center

Julia Hawkins

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Can turning off air conditioning systems still keep museum collections safe?

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Museums serve as essential institutions for preserving and displaying human history and civilization, with strict control of temperature and humidity traditionally seen as a cornerstone of collection care. However, as global discussions around climate change and energy conservation intensify, museums are increasingly recognizing their responsibility to contribute to environmental sustainability while continuing to safeguard their valuable collections. CHIMEI Museum, situated in the subtropical climate of Taiwan, has long adhered to a 24-hour air conditioning system to maintain optimal environmental conditions for its collections, resulting in substantial energy consumption. The air conditioning system alone accounts for 40% to 60% of the museum's overall energy use.

Responding to the mounting pressure to reduce energy costs and carbon footprints, CHIMEI Museum has embarked on a significant journey to optimize its energy usage without compromising its collections. This endeavor, which began in 2014 when the museum relocated to its current site, is a testament to the collaborative spirit of the museum's collections manager, conservator, and air conditioning engineer. Together, they initiated a series of energy-saving measures, including raising the temperature set point from 22±2°C to 23±1°C in 2015 and further to 23±2°C in 2018. This gradual shift marked the first step toward balancing energy efficiency with conservation needs.

In 2021, CHIMEI Museum took its energy-saving efforts to the next level with an innovative strategy. The museum adopted an intermittent operation mode during non-operational hours (19:00–07:00), where fourteen air handling units were successively set to operate at reduced frequencies (from 43Hz to 30Hz) and follow a cycle of 45 minutes off, followed by two hours on. By 2023, this forward-thinking approach resulted in approximately 3.5% energy savings in one year. Throughout these adjustments, conservators closely monitored critical works of art, ensuring that no adverse effects on the artworks were observed.

Monthly meetings between the museum's collections manager, conservator, and air conditioning engineer have been essential in fine-tuning the Supervisory Control and Data Acquisition System. During these meetings, temperature and humidity data from the galleries were meticulously reviewed, and adjustments were made to ensure that environmental conditions remained within acceptable parameters for the collection's preservation.

Throughout this period, conservator continuously monitored a 12th-century Catalonian wall painting near the exhibition entrance and a 1924 oil painting on canvas by Moïse Kisling in a distant gallery to ensure no harmful changes occurred, the original cracks have not significantly expanded. Given the success of these initiatives, CHIMEI Museum plans to expand these energy-saving practices to other galleries in the near future. This initiative represents a sustainable model for museums worldwide, balancing the dual priorities of environmental stewardship and cultural heritage preservation.

Speakers

Wei-An Wu

Conservator, CHIMEI Museum Foundation

Graduated from Tainan National University of the Arts in 2005, majoring in restoration of oil paintings and wooden cultural relics. After graduation, I work at the CHIMEI Museum as a conservator for the art collections. When the museum relocated to the Tainan Metropolitan Park in... Read More →

Authors

Chien-Shan LU

Wei-An Wu

Conservator, CHIMEI Museum Foundation

Yan Chen Lin

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Chasing Colors: Characterizations of Dyes in Velox Transparent Water Color Stamps

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Velox Transparent Water Color Stamps, manufactured by Eastman Kodak Co. in Rochester, N.Y., were marketed primarily to professional and amateur photographers and artists for hand-coloring black-and-white photographs. First appearing around 1914, Velox packets contained 12 perforated dye sheets, each separated by paper cover pages that briefly described their intended use. The descriptions were often poetic, with phrases like "A soft, beautiful yellow for use in flower work, sky tints, etc." The 12 colors in a typical Velox packet included Light Yellow, Deep Yellow, Flesh Tint, Brilliant Red, Scarlet, Warm Brown, Foliage Green, Deep Green, Light Blue, Dark Blue, Violet, and Stone Gray. These dyes allowed photographers to hand-tint their images, enhancing aesthetic appeal and offering a more personalized, artistic touch. The practice became popular in an era when color photography was still experimental, and products like Velox provided a simple, accessible solution for adding color to black-and-white prints. This research sought to identify the chemical compositions of the dyes found in an undated Velox Transparent Watercolor Stamps brochure from the Getty Conservation Institute (GCI) photographic study collection. Accurately identifying these dyes can guide conservation efforts, particularly in preserving photographs employing hand-coloring. Several techniques were used to analyze the dyes: Raman Spectroscopy, Fourier Transform Infrared Spectroscopy (FTIR), Surface-Enhanced Raman Spectroscopy (SERS), and Thin Layer Chromatography-SERS (TLC-SERS). Initially, Raman and FTIR spectroscopy provided preliminary spectra for each dye. While many of the dyes exhibited fluorescence under Raman, FTIR analysis yielded some promising results, helping to suggest which aniline dyes were present based on specific spectral peaks. SERS was applied using silver nanoparticles to overcome fluorescence and amplify the weaker Raman signals. This method offered higher sensitivity by quenching fluorescence, allowing vibrational modes to be more clearly detected. Because Raman, FTIR, and SERS are not separation techniques, Thin Layer Chromatography (TLC) was used to isolate individual dye components and determine if any mixtures were present. TLC-SERS proved especially useful when, for example, the two yellow colors were analyzed. While both Light Yellow and Deep Yellow appeared to contain Acid Yellow 23 according to Raman and FTIR, TLC-SERS analysis revealed that Deep Yellow was a mixture of Acid Yellow 23 and Acid Orange 7. The results of this study have potential implications for art historical and conservation research. By identifying the specific dyes used in Velox products, conservators can better understand the materials involved in hand-colored photographs. This research allows for more informed decisions in preserving photographs containing similar aniline dyes.

Speakers

Tomika Benjamin

Authors

Abed Haddad

Tomika Benjamin

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Chinese Export Wallpaper at the Royal Pavilion Brighton, A conservator's personal story of opportunity, connections and collaboration.

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The Royal Pavilion, at Brighton & Hove Museums (B&HM), is a remarkable example of the lavish ideas of the Prince Regent, George IV, and a homage to the Chinoiserie style. Of particular significance are the original Chinese Export wallpapers which form an important part of the colourful interiors. These in-situ papers and the archival holdings are unique in their rarity, quantity, and setting.

As the paper conservator at BHM since 2014 I was only dimly aware of these wallpapers, facing a busy programme of exhibitions and loans. However, during an extended period of furlough in 2020 my thoughts turned to the collections languishing and the Pavilion and how I could make come of these collections accessible and available.

My distant interest in the export wallpapers in the collection soon became an obsession! I was awarded my first of 2 two consecutive research awards from the Paul Mellon Centre for Studies in British Art in 2020. The first phase focused on Adelaide Corridor wallpaper and generated new physical and digital interpretation, working with a network of academics and the inhouse digital team.

A second Mellon grant was awarded in 2021. Phase two included research, paper conservation, and documentation of the Chinese export wallpapers held in the RP’s archives. This recent research gathered strong public interest via a popular live stream on social media, a popular wallpaper study day.

The final part of the funded project was to install hi spec museum grade lighting in the Adeliade corridor with new interpretation, which was installed in 2024.

Additionally, in 2024 I was award a funded PhD studentship which is a collaborative doctoral partnership between Sussex University and B&HM. The studentship will explore and interpret the impact of colonialism in respect of this specific collection, and through a conservation-led research methodology It aims to uncover new links between collections (nationally and internationally), contextualize previously undocumented materials, and lead new research into the (re)interpretation and adaptation of the wallpapers by those who created it and those who used it. Working with the RP archives as primary material for study, using practical conservation methodology and digital technology, it will seek to illustrate how its wallpaper were the product of a continued interplay and exchange of cultural heritage and reinterpretation. Work will also be done with local diaspora Chinese community groups to interpret these papers.

This talk will highlight the power of collaboration to give a collection its voice. It will discuss the passion of a conservator and the collaboration between heritage professionals and community.

Speakers

Amy Junker Heslip

Authors

Amy Junker Heslip

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Collaboration is Key; Introducing the Conservation Ethos to Construction Apprentices in the Bridge to Crafts Careers Program

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Collaboration is Key; Introducing the Conservation Ethos to Construction Apprentices in the Bridge to Crafts Careers Program

Conservation science and theory are not universally understood or known in the general public. However, reframing and explaining our profession to a general audience and to budding construction professionals is integral to the public’s buy-in to the value of conservation and historic preservation. Through a ten-week apprenticeship program at Green-Wood Cemetery, I teach students with little to no background in conservation or construction, an introduction to stone conservation and the basic principles of conservation theory as it pertains to preservation masonry projects.

This program began at Green-Wood in 2018 as a program site of the Bridge to Craft Careers Program founded and supported by The World Monuments Fund in 2015. With their help I have created a curriculum that unpacks the conservation and preservation world and primes students to be advocates for historic fabric no matter what field they end up finding employment.

Through our work together the students and my restoration crew at Green-Wood fully restore a historic masonry mausoleum. We talk through and implement specific treatments on the monument such as project documentation, historic mortar removal, mortar matching and installation, masonry patching, and non-destructive cleaning.

This presentation will describe the steps I take to train new apprentices in stone conservation as well as highlight the mausoleum restorations we have successfully completed over the years. There will be an emphasis on community engagement and the types of recruitment methods I use to create excitement around the conservation field and how to speak to young adults about conservation and restoration within the context of today’s job market.

By opening up conservation careers to individuals not just with higher education backgrounds the whole field stands to become more open and inclusive about sharing the mission of preservation with new professionals that are just as passionate if not more about our shared heritage. Conservation is not just for those of us with access to graduate degrees- many hands make light work.

Speakers

Neela K. Wickremesinghe

Director of Restoration and Preservation, Green-Wood Cemetery

Neela K. Wickremesinghe is the Robert A. and Elizabeth Rohn Jeffe Director of Restoration and Preservation at the Green-Wood Cemetery. She and her team are responsible for all monument care and maintenance throughout the 478 acre cemetery campus.

Authors

Neela K. Wickremesinghe

Director of Restoration and Preservation, Green-Wood Cemetery

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Collaborative approach in the rediscovery and assembly of a royal vaulted wooden box from King Tutankhamun’s collection through archaeological and scientific evidence

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

One of the current concerns in the conservation center of the Grand Egyptian Museum (GEM.CC) is the transportation, investigation, and conservation of Tutankhamun’s collection to prepare it for display at the new museum. During the excavation of King Tutankhamun’s tomb, Howard Carter mentioned that the tomb had been robbed at least twice and some objects were destroyed to many pieces by the robbers. The boxes and chests were among the objects ransacked at the time of the thefts.

This paper presents the role of conservation along with the archaeological data and scientific investigation in rediscovering and assembling a royal vaulted painted wooden box from King Tutankhamun’s collection after more than 87 years of keeping the pieces of the studied box separately in different Egyptian museums.

After surveying the wooden boxes of Tutankhamun in the Grand Egyptian Museum, Cairo Museum, and Luxor storerooms to gather more information on these boxes as a first step in our study, the second step included utilizing 2D and 3D softwares for documenting and studying woodworking techniques; optical microscopy was used for identification of wood species. In the third step of our work, hand-held X-ray fluorescence spectroscopy (XRF), X-ray diffraction (XRD), and Fourier transform infrared spectroscopy (FTIR) were applied to identify the chemical compositions of the materials used in the painted layers.

Based on the results of the collaborative approach, we succeeded in the assembly of the debris of the broken box (Carter no. k1-Other No. 116) in Luxor storerooms and the two parts (a piece of vaulted lid and a central rail inscribed with the names of Akhenaton and Smenkh-ka-re) in the Egyptian Museum in Cairo, which, most surprisingly, revealed that the separated pieces were originally complete a vaulted wooden box, as well as an added flat lid, belongs to another wooden box from Tutankhamun's collection.

Protocols and decision-making procedures during the collaboration of conservators, curators, and scientists were effective not only in assembling the separated pieces, which, most surprisingly, rediscovered a new vaulted wooden box but also in its display method in the new museum.

Speakers

Medhat Abdallah

Director of Conservation, Storerooms-Saqqara

Prof. Medhat Abdallah Abdelhamid, Director of Conservation of Storerooms-Saqqara. He graduated from the Faculty of Archaeology in 1993 and completed a master's degree in conservation science in 2009. He completed a doctorate in conservation science in 2014 and has experience in wood... Read More →

Authors

Medhat Abdallah

Director of Conservation, Storerooms-Saqqara

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Collaborative Care: A Conservation Partnership for Ogabegiizhigookwe’s Belongings

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

In 2024, changes to the Native American Graves Protection and Repatriation Act (NAGPRA) renewed attention on the urgent need for museums and other institutions that receive federal funding to consult and collaborate with descendant Nations on the care of cultural belongings in museum collections. This presentation shares the story of a unique conservation partnership stretching beyond institutional boundaries to care for familial items returned from a museum to an Ojibwe family.

While researching her great grandmother’s experience at the infamous Carlisle Indian Industrial School (1879-1918) in Pennsylvania, Willow Lawson, a White Earth Band of Ojibwe descendant, discovered a Intent to Repatriate notice published in the Federal Register by the Stearns History Museum in St. Cloud, Minnesota. In 2019, three years after the notice was published, Lawson learned that the museum held approximately 108 items that had belonged to her great-great grandmother Charlotte, also known as Ogabegiizhigookwe (1858-1951).

An Ojibwe artist and member of the White Earth Band of Minnesota, Charlotte spent her life on the White Earth reservation, located just a few hours northwest of the 2025 AIC Annual Meeting in Minneapolis, Minnesota. In the 1910s, all of Charlotte’s 11 children attended religious and government schools that aimed to assimilate them into white society.

With the assistance of the White Earth tribal historic preservation officer, Lawson facilitated a visit to the Stearns History Museum in 2021 to allow Charlotte’s last remaining grandchild, Eleanore Robertson, and other family members, to spend time with Charlotte’s belongings. The following year, Eleanore and her daughter, Anita Fineday, requested the return of 35 items. In 2023, with Eleanore suffering from Stage IV lung cancer, the items were repatriated to the White Earth Nation and transferred to the family.

The following year, Lawson’s colleague at the American Museum of Natural History, Samantha Alderson, Assistant Director Conservation, suggested that students in her class at the NYU Conservation Center at the Institute of Fine Arts, could assess a few of the repatriated items for need of conservation care.

After consulting with family members, Lawson entrusted Alderson and four graduate students (Alexa Kline, Caroline Carlsmith, Devon Lee, and Maria Olivia Davalos Stanton) with the conservation of four of Ogabegiizhigookwe’s belongings. Under the guidance of the family, the students performed analysis for the presence of heavy metals, assessed manufacture and condition, cleaned, and stabilized the items before they returned home to Minnesota.

This presentation focuses on the personal impact, the decision-making, and the dynamics of our collaborative work to care for the family’s treasures.

Speakers

Alexa Kline

Conservation Center, Institute of Fine Arts, NYU

Alexa Kline is a Heinemann Fellow in Conservation at the Conservation Center of the Institute of Fine Arts, New York University, where she studies the preservation of polychromy on both organic an inorganic surfaces. Alexa holds a bachelor's degree in Philosophy from the Sorbonne... Read More →

Willow Lawson

Authors

Alexa Kline

Conservation Center, Institute of Fine Arts, NYU

Caroline Carlsmith

Devon Lee

Maria Olivia Davalos Stanton

Samantha Alderson

Willow Lawson

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Collaborative Conservation and Interpretation of an Old Kingdom Limestone Stela from Saqqara

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This presentation explores the conservation and interpretation of a significant limestone stela from the Old Kingdom, originally discovered in Saqqara. The stela was initially housed in the Egyptian Museum in Cairo before being relocated to the Grand Egyptian Museum (GEM) for further study and conservation.

Upon arrival at the GEM, the stela underwent a sensitive cleaning process that revealed intricate inscriptions and images on its surface. Through close collaboration with a museum curator, the inscriptions were carefully translated, leading to the identification of the stela’s owner, a man named Seteh Waab. The stela also features finely carved depictions of Seteh Waab, his wife, and six other men and women, possibly family members, making offerings to the gods.

This project highlights the importance of interdisciplinary collaboration in conservation and historical interpretation. The combined efforts of conservators and curators allowed for the unveiling of this stela’s rich narrative, shedding light on the social and religious practices of the Old Kingdom. The conservation process, which preserved both the physical integrity and the detailed inscriptions of the stela, was crucial in bringing this ancient artifact to life.

Now a prominent part of the GEM’s exhibition, the stela of Seteh Waab offers visitors a glimpse into the familial and religious dynamics of ancient Egypt. This presentation will discuss the cleaning and conservation techniques used, the collaborative translation process, and the cultural significance of the stela within the context

Speakers

Mahmoud Badawi

Ramadan Salah Eldin

Authors

Fathy Mahgoub

Ibrahim Hussein

Mahmoud Badawi

Mohamed Hussien

Naglaa Abdullah

Ramadan Salah Eldin

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Collaborative Conservation of a Pottery Coffin of the God Khonsu from the Middle Kingdom

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This study focuses on the conservation and reassembly of a pottery coffin dedicated to Khonsu, the ancient Egyptian moon god, dating back to the 17th Dynasty of the Middle Kingdom. Originally housed in the Egyptian Museum in Tahrir and now part of the Grand Egyptian Museum, the coffin is a significant artifact reflecting the religious and cultural practices of its time.The coffin, consisting of a body and a lid, is painted white with yellow lines and hieroglyphic inscriptions of Khonsu's name. Initial assessments revealed that while the body was largely intact, the lid had broken into two pieces and showed signs of previous, inadequate restoration efforts.A comprehensive analysis using XRF, XRD, and microscopic examination was conducted to understand the material composition and to document the condition of the coffin. The conservation process began with mechanical and chemical cleaning to remove surface dirt and calcifications, followed by the removal of old adhesive residues from prior restoration attempts.The fragile edges of the broken lid were carefully consolidated to prevent further deterioration. The lid was then reassembled, ensuring a precise alignment of the fragments. Adhesives compatible with the original pottery were used to maintain the coffin's structural integrity while adhering to modern conservation standards.This project exemplifies the critical role of interdisciplinary collaboration in cultural heritage preservation, combining scientific analysis, historical research, and conservation expertise. The restored coffin is now exhibited at the Grand Egyptian Museum, contributing to a deeper understanding of ancient Egyptian burial practices and the significance of Khonsu in their spiritual life.

Speakers

Amr Mostafa Abd Elgwad

Ragab Ismail

Fadi Zaki Kamel

Authors

Amr Mostafa Abd Elgwad

Fadi Zaki Kamel

Ragab Ismail

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Collaborative Techniques in the Preservation of Saad Zaghloul Pasha's Photographic Archive

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The photographic archive of Saad Zaghloul Pasha represents a vital component of Egypts cultural and historical heritage. This paper explores the collaborative methods employed in the preservation and documentation of this 19th-century albumen archive, housed at the Saad Zaghloul Museum in Cairo. The focus is on the integration of digitalization efforts, conservation techniques, and the joint efforts of conservators, digital technologists, and historians to address the challenges posed by the deterioration of these fragile photographic materials. The study underscores the significance of interdisciplinary collaboration in ensuring the preservation of these important artifacts and their accessibility to future generations.

Speakers

Rasha Shaheen

Director of Conservation Dept.,, Ministry of Antiquities, Cairo, Egypt

• Work in Management of Restoration of Coptic Museum, as a specialist conservator and acting archaeological and architectural documentation, 2011. • Mandate to the work of Public Administration for Restoration Museums and monuments of the Greater Cairo, as a specialist conservator... Read More →

Authors

Rasha Shaheen

Director of Conservation Dept.,, Ministry of Antiquities, Cairo, Egypt

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Conjoined efforts in revealing obliterated nursing goddesses’ inscriptions on a Sandstone panel from Greco Roman period

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This paper discusses the conservation procedures applied on sandstone panel which was excavated from Arment area, Luxor in 1903.The panel height is (137 cm), width (20 cm) and length (109 cm). There was little information about this object in the previous records. Besides, the panel suffered from various deterioration aspects such as dust, soot and a thick layer of dirt which covered most of the features of the inscriptions and made it unclear. Therefore, conservators and archaeologists of The Grand Egyptian Museum, conservation center teamed up to uncover the original inscriptions and to reveal the identity of this mysterious sand panel. Both teams allied in studying the obliterated inscriptions and finding the best method to unclear them. Conservation procedures included the use of different cleaning devices such as Ultrasonic and Steam cleaner and consolidation for weak parts.

The consolidation process came later to strengthen the weak parts. Finally, the panel was documented after conservation and photographed from all sides to clarify it. As a result of the successful conservation works carried out by the conservation team, beautiful engravings on the sandstone panel were finally revealed to give a glimpse of its story and its identity.

Again, the archaeological team helped in interpreting the inscriptions on the surface of the panel and identified the shape of figures during the cleaning procedures, giving some clues for conservators during the revealing process for minimum intervention. Finally, after the successful conservation procedures, the description of the panel was as follows:

"A rectangular plate, decorated at the top with an engraved frieze and a winged sun disk. The plate was depicted with a symmetrical scene of the goddess Isis sitting on a throne in front of an offering tray, breastfeeding the child Horus is wearing a collar and long wig, with a headdress in the shape of an eagle and cow horns with a sun disk topped by the symbol of Isis."

The research concluded with the assumption that it is unfinished royal panel as it contains an offering table for a royal member in suckling form by goddesses. The paper emphasizes the power of teamwork and encourages colleagues from different fields to follow the lead.

Speakers

El-Shimaa Ali

Hadeel Khalil

conservator at the special project lab, conservation center, The Grand Egyptian Museum

Dr. Hadeel Khalil Abd Mohsen is a dedicated conservator with a passion for safeguarding Egypt's rich cultural heritage. For over 14 years, she has meticulously preserved priceless artifacts at the Grand Egyptian Museum and the Supreme Council of Antiquities. Her expertise lies in... Read More →

Authors

Amira Abd El-Hakim

El-Shimaa Ali

Hadeel Khalil

conservator at the special project lab, conservation center, The Grand Egyptian Museum

Hussein Kamal

Rasha Kamal

Conservator, Grand Egyptian Museum

Rasha Kamal joined the conservation center of the Grand Egyptian Museum GEM-CC in 2019 till now. She graduated from the Faculty of Archaeology, Cairo university, Department of Restoration 2008 and had specialist diploma in conservation of inorganic artifact 2015, she had several courses... Read More →

Sally Mohamed

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Conjoined work for solving Challenges of the re-constructed and exhibition of Senusret I panel.

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This panel - subject of this research - divided into 3 sections (upper- middle- bottom) was displayed at the Egyptian museum in Cairo but it wasn’t fully displayed because its height close to five meters which obstacle with museums roof height so it was exhibited in two section separately (upper and middle part) as one panel and the bottom section was displayed another one.

Now for the first time the grand Egyptian museum GEM will display the panel with three sections because of its historical importance as it was found in Senusret I pyramid complex, at south Lisht, Metropolitan excavation 1930, middle kingdom, 12th Dynasty, which make it a unique object.

This panel made of limestone shows the ancient Egyptian's beliefs to the world between the fertileness of land below represented in Hapi “a fertility and Nile god “in life- size carrying offering and the Horus falcon in very high relief above lies on the pharaoh’s realm, symbolized by the decoration front of his palace.

When conservation procedures started, there were troubles in re-assembling the bottom part due to large part missing from the back of the panel. And that’s why the panel should supported from the back so pieces from honey comp were used to strengthen large places of loss. The same problem has been encountered in re-assembling Horus falcon inscription but a different method has been used for supporting this unstable part by temporary. The poster includes photos and illustrations of the re- assembling and conservation procedures.

After finishing the re-assembling process and other conservation actions, some displaying methods were studied to choose the most suitable method for the object in preparation for exhibition. The search found similar examples at the Metropolitan museum Mets. No. 34.1.206, but differs as their case was incomplete. So, it wasn’t compatible for the condition of the studied case. Therefore, collaborated work was established between a civil engineer, mount-maker and conservators at GEM-CC to design an appropriate displaying method to suit the panel condition with 3d drawings and data illustrate the suitable materials and method. The joint teams studied the possible and expected loads of each section and provide a model for mounters which matches with both, safety of the object and the policies of GEM-CC of sustainability and re-treatability. This studied case shows high command of collaboration and presents an innovative method of exhibition

Speakers

Rasha Kamal

Conservator, Grand Egyptian Museum

Sally Mohamed

Authors

Doaa Mohamed

Hadeel Khalil

conservator at the special project lab, conservation center, The Grand Egyptian Museum

Hussien Kamal

Mostafa Shehata Hassan

Head of Stone and Mural Painting Laboratory, Grand Egyptian Museum

Mostafa Shehata Hassan holds a B.A. in Antiquities from Cairo University (2003) and has nearly 20 years of conservation experience. Currently, he serves as the Head of the Stone and Mural Painting Laboratory at the Grand Egyptian Museum's Conservation Center (since 2018). He previously... Read More →

Ramadan Salah

Rasha Kamal

Conservator, Grand Egyptian Museum

Sally Mohamed

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Conservation digital storytelling as a method of interpreting museum exhibits“ an unknown conservation soldier ”

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Abstract

The process of conservation of museum exhibits is an important step that precedes the display of museum objects, and the storytelling of those exhibits is one of the most important methods of interpreting them and conveying the message of the museum objects. Therefore, the researcher, in cooperation with the conservator, who conservated the statue of Sekhmet, collected the necessary information related to the conservation of the object. The researcher also cooperated with archaeological colleagues to collect archaeological and historical information about Sekhmet.

Then, the researcher created a simple digital narrative model about one of the museum objects that will be displayed in the Grand Egyptian Museum. The story presented by the researcher is a short story of five and a half minutes about the statue of Sekhmet. The researcher made an imaginary drawing of the place and the story in a simplified and interesting manner. Likewise, the researcher put a part about the conservation process and told the story of the exhibit, Sekhmet, to measure the ease of applying this by making a story about conservation a palatable and simple process that the visitor understands and loves, making him eager for more stories and wanting to return to visit the museum again.

Keywords: Digital storytelling - Interpretation - conservation- Museum - Exhibit

Speakers

Mona Mohammed

Conservator, Grand Egyptian Museum

I work as a conservator at the Grand Egyptian Museum. I have a master's degree in museum studies from the Faculty of Tourism and Hotels, Helwan University. I am currently registered in the Heritage and Museum Studies program at the same university and college. One of my hobbies is... Read More →

Authors

haytham saleh

Mona Mohammed

Conservator, Grand Egyptian Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Conservation digital storytelling as a method of interpreting museum exhibits“ an unknown conservation soldier ”

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Abstract

The conservation of museum exhibits is an important step before displaying them, and telling stories about these exhibits is one of the most important means of interpreting and conveying the message of museum exhibits. Therefore, the researcher cooperated with the conservator who restored one of the statues that will be displayed in the Grand Egyptian Museum, which is the statue of the goddess Sekhmet. The researcher collected information from the conservator related to the conservation of Sekhmet. The researcher also cooperated with his archaeological colleagues to collect archaeological and historical information about Sekhmet.

Then, the researcher, with the assistance and supervision of a professor from the Faculty of Archaeology, Restoration Department, Cairo University, a professor from the Faculty of Tourism and Hotels, Helwan University, and a professor from the Faculty of Archaeology, Ain Shams University, created a simple digital storytelling model about the statue of the goddess Sekhmet. The story presented by the researcher is a short story of five and a half minutes in which the researcher made an imaginary drawing of the place and the story in a simple and enjoyable way. The researcher also included a part about the conservation process and told a simplified story to measure the ease of applying this by making the conservation story a palatable and simple process that the visitor understands and loves, which makes him eager for more stories and wants to return to visit the museum again. Thus, the role of conservation is not limited to the stage preceding the display of museum exhibits, but its role has extended beyond the museum display.

Keywords: Digital storytelling - Interpretation - conservation-Grand Egyptian Museum - Museum display

Speakers

Nesrin Elhadidi

Mona Mohammed

Conservator, Grand Egyptian Museum

Authors

Mary Kupelian

Mohammed Ismael

Mona Mohammed

Conservator, Grand Egyptian Museum

Nesrien Mohammed atef

Nesrin Elhadidi

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Conservation of the Naos of King Neferhotep I: A conservation strategy and cross-disciplinary cooperation

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The poster presents the conservation process of the Naos of King Neferhotep I from the 13th Dynasty of the Middle Kingdom, discovered at Karnak Temple and transferred from the Egyptian Museum in Tahrir to the Grand Egyptian Museum. Its importance lies in the fact that it is a double naos of the king in human form and the form of a god for the purpose of glorification. Upon arrival at the stone conservation laboratory, the team documented the naos through photographic imaging and reviewed its archaeological records. The conservation challenges included dealing with disassembled and incomplete sections of the naos, requiring secure reassembly. After the examination, a plan was developed by the conservation team collaborated with mount makers to design temporary supports that were compatible with the naos and tested for weight tolerance and non-reactivity with the artifact. These holders were made to assist in the re-assembly and conservation processes in a proper position. After installing these supports, conservation work has begun. For the exhibition, permanent supports will be designed in collaboration with the museum's display team and mount makers, with precautions including the presence of a first aid team to prevent damage during placement in the exhibition hall. This case highlights the importance of multidisciplinary teamwork and modern techniques in effectively preserving cultural heritage.

Speakers

Hend Gaber

Mostafa Shehata Hassan

Head of Stone and Mural Painting Laboratory, Grand Egyptian Museum

Noha Reda

Authors

Abdelrahman Mohamed

Hend Gaber

Hussein Kamal

Mahmoud Fathy

Grand Egyptian Museum

Mostafa Shehata Hassan

Head of Stone and Mural Painting Laboratory, Grand Egyptian Museum

Noha Reda

sara essam

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Conservation on a Grand Scale: History, Diagnosis, and Treatment of Audubon’s Birds of America

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Despite internal resistance to John James Audubon and his work, the American Philosophical Society possesses an original subscription copy of his rare double-elephant folio Birds of America (1827-1838). Each of the 435 hand-colored intaglio prints depicts North American birds at life size, and originally measured 39.5 by 28.5 inches. Thanks to the APS archives, we know the Society had its plates bound into four enormous volumes in 1840, when C. Carle & Co stab- and whip-stitched the cross-grained prints into sections for sewing over recessed cords. In 1897, after years of heavy use, the plates were trimmed, selectively lined, mended, hinged to stubs, and rebound into five volumes by the Philadelphia firm of Pawson and Nicholson. These bindings remain on the books today, and their inflexible stubs—which tend to nest together and stick that way, preventing the large, heavy volumes from opening flat—initially presented the greatest challenge for safe display.

In preparation for the APS Museum’s 2024 exhibition, Sketching Splendor, we noticed a more subtle problem. A strange purple haze obscured many of the prints' darker passages. Our efforts to diagnose the problem required consultation with colleagues in other specializations, engagement with the scientific literature, visits to sister institutions, and many rounds of testing. We discovered that the hazy material was unaffected by water and alcohols but readily removed with cosmetic sponges or white vinyl erasers, revealing saturated paint underneath. But what was it, and could we in good conscience remove it? Colleagues at Colonial Williamsburg and the Winterthur Scientific Research and Analytical Laboratory helped us to characterize samples of the material using polarized light microscopy (PLM), Fourier transform infrared (FTIR) spectroscopy, scanning electron microscopy–energy dispersive spectroscopy (SEM-EDS), and gas chromatography-mass spectrometry (GCMS). Results suggested that the haze was a purely optical phenomenon resulting from desiccation of the watercolor and ink binders, which left a thin layer of loose pigment—primarily bone black—on the surface of the prints. Colleagues in paintings conservation also shared their knowledge of condition issues related to this pigment.

Developing a treatment protocol for the first volume required many more rounds of testing, followed by media consolidation on a massive scale. This challenge was compounded by the presence of ethanol-soluble gamboge and glazes throughout the Audubon prints, hydrophobic hand coloring that necessitated the use of ethanol, and managing the dwell time, viscosity, and sheen of the successful methyl cellulose consolidant mixtures. We will continue fine-tuning our approach as we treat the remaining four volumes in the series, and look forward to further collaboration with colleagues. Why this problem has developed in our copy of Birds of America and only one other, as far as we are aware, remains a mystery.

Speakers

Anne Downey

Renée Wolcott

Book Conservator, American Philosophical Society

Renée Wolcott is Head of Conservation at the American Philosophical Society, where she also examines the collections for evidence of past conservation and restoration practices. While a high-school interest survey listed “book restorer” as the top match for Wolcott’s skills... Read More →

Authors

Anne Downey

Renée Wolcott

Book Conservator, American Philosophical Society

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Considering Soy-mal-tan: a preliminary examination of a sustainable high-strength adhesive and its potential application to metals conservation

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Ongoing developments in bio-based materials can potentially provide innovative alternatives as the field of conservation seeks sustainable options. In 2023 the journal Nature published research by chemists at Purdue University who, inspired by biomimicry, developed biomass derived adhesives, notably a material they called soy-mal-tan after its subcomponents of epoxidized soybean oil, malic acid, and tannic acid. They reported high strengths comparable to epoxies and an estimated net negative carbon footprint. However those authors also presented some factors which could limit its applicability within conservation such as relatively high temperatures for curing (180° C) and an inherent dark amber color. Others have noted concern that the tannic acid component may be prone to oxidation and that specific applications would require testing.

In spite of the potential limitations this adhesive sounds promising for novel applications within metals conservation where such high temperature can often be acceptable to the substrates, the color may be inconsequential, and the tannic acid component already has found use (e.g. the treatment of iron surfaces). This poster will present the results from experimental reproduction of the adhesive, investigation of reversibility and aging characteristics, and the empirical testing of several applications to the conservation of metals.

Speakers

Karl Knauer

Conservator, Naval History and Heritage Command

Karl Knauer is a conservator in the Conservation Branch of the Naval History and Heritage Command where he has worked since 2016.

Authors

Karl Knauer

Conservator, Naval History and Heritage Command

Karl Knauer is a conservator in the Conservation Branch of the Naval History and Heritage Command where he has worked since 2016.

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Creating the Ripple Effect on Embroidery Research and Development Center’s Collaboration with Science and Technology Museum in Taiwan.

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The occurrence of resonance can make the activator of the resonance effect have a multiplier effect on the message to be conveyed to the publics. In Taiwan's textile conservation and research field, the International Embroidery Research and Center of Tainan University of Technology (IERC, TUT) has well known for preserving and repairing embroidery crafts and temple antiquities. The Embroidery Center found that the disappearance of embroidery skills and the decline of embroidery business in recent years have led to the difficulty of inheritance. Since 2017, IERC began to have the concept of "University has obligations to serve our society", and promoted the practice plan as called "Embroidery Skills Inheritance and Memory Extension". Until now, seven consecutive years served local communities and remote villages to promote embroidery aesthetic activities, and opened traditional embroidery craft talent cultivation courses. At the beginning of 2024, IERC cooperated with the National Science and Technology Museum to aim K4-K9 students to learn embroidery and tailoring skills, and scheduled to host a learning sharing and achievement presentation by the end of project.

IERC, TUT and Collections and Research Division, NSTM were established in 2002 and 2003 respectively, both of which offer exhibition hall visits. Therefore, building learning atmosphere from the two departments was considered as the main cooperation plan. The goal was expected to provide participants with an exciting and innovative experience through the tailoring and embroidery experience, and cultivate their interest in a career as an embroidery tailor. In addition, the participants heard the story of preserving traditional craft fabrics that their stereotyped impression of traditional embroidery skills were be changed. Apparently, creating a daily design with life aesthetics has become an unforgettable life experience.

This paper examined the ripple effect as a qualitative research theory, and analyzed that organizational cooperation had a substantial effect on external links, thereby expanding the preservation value of traditional textile skills. The research finding explained that there were two main reasons for the ripple effect. Firstly, to provide students with an exciting and innovative experience. Secondly, initial stage of establishment was reached to form a unique service system for Taiwan's embroidery clothing cultural assets.

Speakers

Cheng-Chung Huang

Research Assistant, National Science and Technology Museum

Cheng-Chung Huang joined National Science and Technology Museum (NSTM) in 1997. NSTM is an important applied science museum in Taiwan. NSTM has established close cooperation with local industries such as Chinese Petroleum Corporation, Taiwan and China Steel Corporation to jointly... Read More →

Authors

Cheng-Chung Huang

Research Assistant, National Science and Technology Museum

Miao-Tzu Lin

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Damage and Conservation of St. Peter's Church in Egypt during Egyptian Revolution

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

On December 11, 2016, a suicide bomber detonated an explosive device inside the Saint Peter and Saint Paul Coptic Orthodox Church, commonly known as the Petrine Church, located inside the Coptic Cathedral in Cairo, Egypt. The attack killed 28 people and injured dozens more.

"This church, over a century old, is adorned with numerous murals, paintings and mosaics. In an instant, some of these treasures were reduced to rubble, mingled with the blood of martyrs. This research will delve into the damages inflicted upon all the artifacts within the church as a result of the explosion. It will also explore the process of documenting and recording these damages, preserving a portion of them as a historical narrative of the event, and restoring the remaining artifacts to safeguard them for future generations.

Furthermore, this study will focus on the perspectives of various stakeholders, including church members, the local community, and conservation specialists, regarding the decision-making process. Specifically, it will examine whether the damaged historical artifacts should be fully restored to their original state or if it is more appropriate to preserve the damage as part of the artifact's or the event's historical narrative

Speakers

EMIL HENIN

Head of Coptic Paintings Conservation Department, Ministry of Tourism and Antiquities

Position Head of Coptic paintings Conservation Department, Ministry of Tourism and Antiquities, Egypt Education • (Nov 2018 till Now) PhD Student at the Faculty of Archaeology, Fayuom University, Egypt : Thesis title "Study the Chromatic Change of Inorganic Pigments in Icons from... Read More →

Authors

EMIL HENIN

Head of Coptic Paintings Conservation Department, Ministry of Tourism and Antiquities

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Dancing with Degas

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Dancing with Degas

Degas’ paintings of ballerinas instantly recognizable and are widely loved around the world. The question remains, how did the artist intend them to look? The Impressionists were the radical avant-garde artists of their day. They were breaking with the traditional academic methods of painting and experimenting with entirely new ways of presenting the world. It is well documented that many of these painters and the artists that followed did not want their paintings varnished. Varnish saturates the colors making them appear darker and can change the balance of contrast and tonal relationships. Early on, dealers often had these works varnished and put them in ornate gold frames to make them more saleable. Over time as these works grew in popularity and value they were exposed to cycles of treatment, which often including cleaning and varnishing.
This paper will present the study and analysis of Degas’ materials and techniques used in the Dancer with Bouquets from the Chrysler Museum Collection It is a large, late work and remained with the artist throughout his life. Technical analysis carried out included infrared examination, x- radiography and cross-sectional analysis. The modern varnish was removed and afterwards the painting was examined by a variety of scholars and conservators to re-evaluate the work in an attempt to determine what effect the artist was attempting to achieve as he pushed the boundaries of modern art. Degas also designed frames for his works which were often quite simple and modern. Using his own design, a new reproduction frame was fabricated to better match the artist’s intention.

Speakers

Mark Lewis

Conservator, Chrysler Museum of Art

Chrysler Museum Chief Conservator, Mark LewisMark Lewis has been the painting conservator at the Chrysler Museum of Art since 2001. Originally from California, where he earned his BA in studio art and art history. He holds an MS in Art Conservation from the University of Delaware-Winterthur... Read More →

Authors

Mark Lewis

Conservator, Chrysler Museum of Art

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Dating and Authenticity Assessment of Metal Statues in Ancient Egypt

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This study offers a comprehensive analysis of a bronze statue of the deity "Osiris" from the Late Period of ancient Egypt, focusing on verifying its authenticity and determining its historical context. We used a combination of scientific and artistic techniques, with X-ray radiography as a central method. By employing X-ray imaging, we were able to explore the statue's internal structure, revealing signs of internal corrosion and the presence of supportive elements. These findings were crucial in confirming the authenticity of the statue, as these internal features distinguish genuine artifacts from forgeries, which typically have more complex and artificial internal supports.

In addition to the internal examination, we studied the artistic details of the statue. Key elements such as the facial features, the design of the clothing, and the tenon located at the base were carefully analyzed. These details played an essential role in helping us determine not only the time period of the statue’s creation but also the geographic region where it was produced. Based on these artistic characteristics, we concluded that the statue was most likely made in Upper Egypt, a region known for producing high-quality bronze works under the supervision of priests.

To further support our findings, we conducted a chemical analysis using laser ablation inductively coupled plasma mass spectrometry (LA-ICP MS) on the statue’s outer patina. The results showed that the statue contained approximately 21.9% lead, a characteristic often found in bronze artifacts from the Late Period. This high lead content provided another layer of evidence for the statue’s authenticity, as it aligns with known examples from the same era. In the Late Period, lead was commonly added to bronze due to economic or technical reasons, and this characteristic was a strong indicator of the statue’s historical origin.

By comparing the artistic techniques and materials used in this statue with other well-documented examples from the same period, we further confirmed that the statue was crafted in Upper Egyptian workshops, most likely under priestly supervision. These workshops were responsible for producing religious items with strict oversight, adding both cultural and historical significance to the statue.

Moreover, we highlighted the advancements in metalworking techniques in ancient Egypt, particularly the lost-wax casting method. This method, which involved creating a wax mold that was later replaced by molten metal, allowed for intricate details and high craftsmanship in bronze statues. Understanding this technique helped us confidently link the "Osiris" statue to the Late Period.

In conclusion, we confirmed that the "Osiris" statue is an authentic artifact from the Late Period of ancient Egypt. It is consistent with the artistic and technical methods used during that era. Our study provides valuable insights into the development of metalworking techniques in ancient Egypt, contributing to a deeper understanding of the cultural and historical importance of these artifacts.

Keywords: Metal statues, Lost-wax technique, Bronze artifacts, Laser Ablation Inductively Coupled Plasma Mass Spectrometry (LA-ICP MS), X-Ray Radiography, Artifact analysis.

Speakers

Mohamed Darwish

Mustafa Hafez

Authors

Mohamed Darwish

Mohamed Ragab

Conservator, The Grand Egyptian Museum

I am senior Conservator at the Grand Egyptian Museum employed there from 2010 until now. I began working with organic object in 2010. I usually responsible for objects documentation process. Interested in applying Multispectral Imaging techniques for pigment mapping and dyes identification... Read More →

Mustafa Hafez

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Developing Conservator: My Journey in Darkroom Photography

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

In the field of art conservation, understanding of an artist's chosen materials and their creative application is fundamental. This holds true for photograph conservation, where a profound grasp of the historic evolution and chemistry of photographic processes is crucial for discerning and identifying each technique. However, deeper learning is achieved through hands-on engagement in the darkroom. Delving into the intricacies of photographic processes not only unveils the technology, tools, and chemistry underpinning their production but also serves as an invaluable experiential learning tool. Darkroom practice enables observation and critical thinking about a photograph’s evolution from its initial creation to potential display, and how these factors influence its long-term preservation. It also facilitates an understanding of the differences between genuine deterioration and intentional alterations made by a photographer. Creating photographs in the darkroom can combine research into the history and chemistry of photography with research into photographers, studios, and businesses utilizing these techniques today. The sensitivities of different emulsions can also be experimented with and observed. The addition of toners or other chemical baths in the darkroom can be understood by seeing the change in color of a print and its stability over time. This immersive exploration equips conservators with a dynamic perspective that informs their decision-making in the outreach, preservation, and treatment of photographic materials. When creating albumen prints for example, the paper curls at all stages of production from the first application of the egg-salt mixture to the final wash bath. This demonstrates the inherent qualities of these prints and though we may consider curling damaging and work to keep the print flat, it is also an unavoidable part of the making process. While striving to maintain flatness, historically, albumen prints would be mounted to a paper board. This mounting process, though keeping the print from curling, could potentially introduce cracking in the emulsion over time. The tendency of the print to curl and potential cycles of curling and flattening demonstrate its sensitivity to moisture and the need for a stable environment and safe housing for long term preservation. Additionally, through making albumen prints, the similarities to the salted paper print process are clearly identifiable. The recipes for chemical baths and steps in the darkroom are nearly equivalent. It is understandable why their identification might be challenging. Finally, the darkroom also serves as a platform for outreach, where sharing the art and science of photography through workshops and social media can enhance public understanding and appreciation of art conservation. This is increasingly important in an era when images are so easily captured, duplicated, and distributed.

Images to be included on the poster:

•   Creating albumen prints: fresh untoned print, fresh gold toned print, historic aged print

•   Creating additive color screen plates: results from experiment, diagram of the layers

•   Creating tintypes: the “negative” pre-fixer, final positive product

•   Creating gelatin DOP: contaminated fixer resulting in pink print

•   Outreach: social media- QR code to share, creating salted paper prints and leading workshops at SUNY Buffalo and WUDPAC photo block

Speakers

Sophie Church

Graduate Fellow (Class of 2025), SUNY Buffalo State University

Sophie Church is a Graduate Fellow specializing in photographic materials conservation at the Garman Art Conservation Department at SUNY Buffalo State University. Her conservation experience includes internships at the Harry Ransom Center in Austin, Texas and former employment as... Read More →

Authors

Sophie Church

Graduate Fellow (Class of 2025), SUNY Buffalo State University

Theresa Smith

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Dinosaurs live on: The Story of a West Indian Microfilm Collection.

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

ABSTRACT: Abstract for the American Institute of Conservation of Historic Works Annual Meeting May 2025

Title: Dinosaurs Live On: The Story of a West Indian Microfilm Collection

The University of the West Indies (UWI) Mona stands as one of the oldest academic institutions in the English-Speaking Caribbean. Situated on 252 acres of land, the Mona Campus boasts a rich cultural and historical legacy and this manifests in the diverse resources held in the UWI Mona Library’s collection.

The UWI Mona library was established in 1948 at Mona as a part of the new University College of the West Indies. The library was moved in 1952 to the current site it occupies and is a very integral part of the campus. There are four other libraries which are the Science and Engineering, Medical, Law and the Western Jamaica campus branch libraries. The UWI Mona library is the main library on the campus

The UWI Mona Library houses a diverse collection, featuring books, photographs, maps, pamphlets, journals and microforms. Within the over 6000 microfilm/microfiche collections at Mona, is the opportunity to explore unique facets in the history of growth and development of Jamaica and the Caribbean from the 17th century to the mid to late 20th century.

Microforms are typically a durable preservation format and able to last up to a century under optimum conditions. Unfortunately, the Mona Library’s collection has suffered from inadequate environmental conditions and is exasperated by limited financial resources. This has led to the onset of vinegar syndrome and mold exposure over the past decade.

In response, the library has undertaken collaborative initiatives with internal and external departments to preserve these valuable records. Efforts include partnering with the Estate Management Department to repair existing or acquire new air conditioning equipment and grant applications such as UNESCO's Memory of the World initiative to Safeguard Documentary Heritage at Risk. This grant aims to preserve and make accessible collections at risk due to diminishing or non-existent financing by providing equipment such as smart dehumidifiers and data loggers, which will help stabilize storage conditions. Additionally, the Library’s Preservation Department launched a campaign to create protective enclosures to slow the deterioration of these records. This paper seeks to highlight the invaluable heritage held within this historic collection and efforts underway to ensure its preservation and continued access.

Speakers

Dunstan Newman

Authors

Bernadette Worrell-Johnson

Dunstan Newman

Nicole Lewis-Prawl

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Discovering the Artists’ Process: Recovering Faded Correspondence on Thermal Paper from the Vignelli Center for Design Studies at the Rochester Institute of Technology

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The mid to late 1900s was an era of innovation for pop culture, politics, and technological advancement, especially within communication. Among the new communicative tools was the thermal fax machine, which converted digital documents to physical copies by applying heat to heat sensitive paper (thermal paper) and became a key method of correspondence that enabled text and images to be received – all prior to the advance of email. Over the years, cultural heritage institutions have collected boxes of this substrate to preserve history and culture of various individuals and groups of the time. Despite its popularity, thermal paper has a caveat. Over time, the text and images on the paper fade, at times, erasing important information, and posing a challenge to many institutions on what to do with the blank documents. Fortunately, accessible, and low-barrier-to-entry, multispectral imaging systems possess the features needed to undo the damage from fading and reveal what the information on these documents were. One of these systems that has the ability to accomplish these results is MISHA. MISHA (Multispectral Imaging System for Historical Artifacts), uses 16 wavelengths of light, from the ultraviolet to the infrared, to uncover faded, damaged, or unknown texts, and illustrations on various material types, including thermal paper. At the Rochester Institute of Technology (RIT), the MISHA team has worked closely with the Vignelli Center for Design Studies (VCDS) to image their thermal paper and reveal the content initially on them before the text and images faded. This collection contains the artifacts, designs, and correspondence of Italian designers Massimo and Lella Vignelli, who were well known for their design of the map for the New York City subway system, as well as the logos for American Airlines and Ford. Their collection at RIT is vital for the preservation of late 20th century design, and to show a successful example of text and image recovery of thermal paper, and showcase the process for the recovery so that other cultural heritage imaging labs may repeat it to help their own or other cultural heritage institutions in the area. This will give an overview of the VCDS, explore what collections they have, and show how the text and imagery on thermal paper was a valuable tool for the Vignelli’s creative process, and why it is important to restore it. It will also discuss what MISHA is, and how accessible multispectral imaging systems can help organizations preserve their degrading thermal paper, and other documents, without losing their historical context to time. Successful case studies like this help the MISHA team continue to grow and develop as they help cultural heritage institutions continue to tell the stories about their collections, and the team develop best practices for working with different material types, and strategies to more efficiently capture and process cultural heritage objects.

Speakers

Renée Guerin

Keshav Sasanapuri

Authors

Collin Fluke

David Messinger

Izzy Moyer

Jr.

Juilee Decker

Keshav Sasanapuri

Renée Guerin

Roger L. Easton

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Exhibiting Chinese Books - an elegant and sustainable approach

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Custom-made acrylic book cradles can be expensive to produce, time-consuming to make or procure, and difficult to recycle. At the University of Hong Kong Libraries (HKUL), as we were developing a series of exhibitions of traditional Chinese thread-bound books, we wanted to find a material and method that would be affordable, reusable and easy to produce inhouse. The majority of Chinese rare books found in library collections today have textblocks made of paper with either a paper or textile cover that is stab bound along one edge, resulting in a rigid spine but a flexible and lightweight textblock. In researching material that would be able to support the drape of the textblock while holding the spine in place, we focused our attention on a combination of rolled foam and polyester sheets. Rolled pieces of Volara foam attached to a base became our preferred type of support. It can accommodate fascicles of different thicknesses and heights and can be displayed flat or at various angles. While this material accommodates a significant number of traditional books, some require a slightly different approach. To supplement the foam supports, we also fabricated a series of matboard supports that are similar to book supports created for Western codices, but with modifications that address the specific requirements of Chinese thread-bound books. These methods can be altered in a myriad of ways to safely and elegantly showcase these delicate books with a support system that can be reused both for exhibition display and as supports in a library reading room. At HKUL and the Weissman Preservation Center (Harvard Library) the fabrication of book supports for Chinese and other Asian books continues to evolve.

Speakers

Jody Beenk

Weissman Preservation Center, Harvard Library

Jody Beenk has been active in the fields of bookbinding and rare book conservation for more than thirty years. She studied at the University of Iowa and held positions at the Iowa State Historical Society, Harvard Library and Princeton University Library before accepting a position... Read More →

Lesley Liu

Authors

Jody Beenk

Weissman Preservation Center, Harvard Library

Lesley Liu

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Experimental and applied study to evaluate the effectiveness of silver nanoparticles added to some plant volatile oils and chemical insecticides against Anthrenus verbasci Larvae as a preventive care method inside museums

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The present work is undertaken with a view to harnessing nanotechnology as one of the most important frontier sciences for the development of the effectiveness of volatile oils and chemical insecticides. Experimental studies were done to evaluate the effectiveness of two volatile oils (Cinnamon, and Eucalyptus) oils and two chemical insecticides (Carbon disulfide, and Paradichlorobenzene) before and after adding Silver Nanoparticles on the color change and the morphology of infected dyed woolen textile by Anthrenus verbasci. The concentration of volatile oils and chemical insecticides applied on infected dyed woolen textile before adding silver nanoparticles was 3% (v/v) and in the case of adding silver nanoparticles was 1.5% (v/v). The results showed that cinnamon oil is the best material before and after adding silver nanoparticles which didn’t affect dyed woolen samples in color change and the morphology of the woolen samples.

This paper presents a new approach for preventive conservation of a decorated historical textile no.9697 dating back to Muhammad Ali’s period by using cinnamon oil added to silver nanoparticles. Because of storing in uncontrolled environments at Museum of Islamic Art, Cairo, it was infected by insects especially Anthrenus verbasci, so this study shows how we will prevent this piece of textile from any infection in the future by preserve it in controlled microclimate. A documentation, examination and analysis of this piece were performed to develop a scientific plan of conservation treatment. Examinations with Digital Microscope clarify the fiber structure and the deterioration aspects. FTIR- ART determined the kinds of dyes and organic stains, SEM identified the kind of fibers, stage of deterioration and surface morphology. This paper will review the conservation treatment step by step.

Speakers

Dina AbdElGawad

Textile & Carpet Conservator, Museum of Islamic Art, Ministry of Tourism and Antiquities

My name is Dina Yehya Abd ElGawad, Textile & Carpet Conservator at Museum of Islamic Art also working as part of a team in conservation archaeological artifacts inside storage area and exhibit show cases. I finished my Ph.D. degree on (A comparative experimental study to evaluate... Read More →

Authors

Dina AbdElGawad

Textile & Carpet Conservator, Museum of Islamic Art, Ministry of Tourism and Antiquities

Nagwa Hassan

Rokaya Sobah

Sawsan Darwish

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Experimental Study to Evaluate the Use of Organic Solvents and Polymers in The Treatment and Maintenance of Plywood with Application On archaeological Object

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

In this research, the solvents that affect the wood that forms the different layers of plywood panels that were held together by polymers were studied. Therefore, it is necessary to remove the old polymer that had deteriorated. Their role in dissolving the new polymer, which will be used for gluing the layers of plywood and replacing the old, damaged polymer, was also studied, Some polymers that are used as consolidating materials can be used to glue old plywood.

Polymers are divided according to many characteristics such as chemical composition, origin of polymers, type of hardening, and application method. The use of polymers is mostly based on the origin of the adhesive (organic, inorganic) or its chemical nature (natural, semi-synthetic, synthetic).

The research includes a comparative experimental study to evaluate the performance of some organic solvents and polymers in treating and maintaining plywood to determine which is most suitable for later use. The thesis is composed of three chapters as follows:

The first chapter includes the factors that led to damage the plywood from various environmental factors and the visible and invisible shapes of damage that occurred as a result of them.

The second chapter includes an experimental study to evaluate the polymers chosen for testing and perform various aging processes on them. It also includes a study on the effect of solvents that were applied on wooden veneer samples.

The experimental samples were glued together using the chosen polymers and were mechanically tested. Color measurements were applied to further evaluate the treatment, and results were compared with the FTIR analyses conducted on the samples.

In the third chapter, after having reached a conclusion in the previous chapter, the most appropriate materials were applied on the plywood of the Brake Carriage at the Royal Carriage Museum in Boulak, Cairo.

Keywords:

plywood, wood veneer, polymers, nanocellulose, infrared spectrum, royal horse carriages, urea formaldehyde, white spirit.

Speakers

moustafa hassan

Authors

moustafa hassan

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Exploring Licio Isolani’s creative process through a non-invasive X-Ray Fluorescence investigation

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Licio Isolani (1931-2015) is an understudied Italian artist who belonged to the avant-garde generation working in New York City between the 1950’s-60’s. Inspired by Boccioni and Bala’s Futurist call for “a New form for a New World” they were actively engaged in the search for new art materials to express their ideas in a new more personal way. Based on the dating of his paintings, Isolani was conducting “recycled and found materials" research at the same time as Robert Rauschenberg and Alberto Burri, and he was looking for materials that could give the new luminosity of Lucio Fontana. The variety of materials used by the many artists of this generation needs further scientific investigation, and thus the study of Isolani’s works also sheds further light into this stunningly innovative generation of artists.

Licio Isolani donated his early art collection (1957-1969) to Pratt Institute in 2015. Within this collection several sculptures bear resemblances to contemporary or earlier paintings. The two-dimensional subjects are brought to life in a colored fiberglass polyester resin sculptures. These sculptures gave Isolani the opportunity to work with angles and different forms that interact with light in a new way, a topic he writes extensively about in his diaries.

Both the paintings and sculptures of this period show areas of high opacity juxtaposed with translucency and are meant to be illuminated. His paintings are executed on aluminum gilded supports that create a reflective painting surface giving the illusion of an open space which is framed by the non-reflective highly opaque painted areas.

As a preliminary investigation, a representative painting and sculpture depicting similar subjects and colors dating to c.1962 were chosen for non-invasive, in-situ X-Ray Fluorescence (XRF) analysis.

The results indicate that the main source of “translucent” pigments in the painting are given by ground metals: Aluminum, Copper, Tin and Zinc, along with the use of the “highly opaque” Lead and Chrome-based reds and yellows, titanium and lead white and Phosphorus-containing blacks for the non-reflective areas. Chlorine was detected uniformly throughout the painting but the nature of its presence is not yet understood and is under further investigation. The XRF studies of the fiberglass sculpture showed that Isolani achieved translucency vs opacity effects by in his sculptures using Lead and Chromium-based red and yellow pigments, Phosphorus and Carbon-containing blacks and organic dyes, either embedded in the resin or painted. The presence of dyes is inferred due to the lack of inorganic chromophores on the translucent regions of the sculpture. Not all yellows and reds display a significant Chromium signal, as in the painting, suggesting the possible presence of Lead red and/or red organic dyes. Areas of high opacity also show the presence of high-density fiberglass suggested by the high intensity of Silicon and Calcium in the XRF spectra, whereas transparent areas are mainly composed of dyed polyester resin and low-density fiberglass (low Silicon and Calcium signals and the absence of an inorganic chromophore). This preliminary XRF study shows the complexity and variety of materials Isolani experimented with in his search for obtaining new luminosity, color and shapes in his sculptures and the illusion of three dimensions in his paintings.

Speakers

Elivia Leporace

Research Associate, Pratt Institute

Elivia Leporace is a current graduate student at the University of Amsterdam where she is pursuing a Master's in Chemistry on the analytical sciences track. She previously earned her undergraduate degree in chemistry from New York University in 2021, when she began conducting research... Read More →

Authors

Alissa Yong

Eleonora Del Federico

Elivia Leporace

Research Associate, Pratt Institute

Renato Miracco

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Frederick Carder’s Aurene Glass: Historic Background and Physical-Chemical Description

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Frederick Carder (1863-1963) was a noted glass designer who cofounded Steuben Glass Works in Corning, New York, with Thomas G. Hawkes in 1903. In this period Carder also developed a golden, iridescent glass he named Aurene, inspired by the appearance of weathered Ancient Roman glass where the glass surface was modified over hundreds of years due to water exposure in a burial environment. This paper will discuss the complex historic manufacturing process of Aurene and the preliminary findings of a study to investigate the surface and body of the glass.

Prior to cofounding Steuben, Carder previously worked with John Northbridge and as a designer at Stevens & Williams, where he helped reintroduce colored glass to the firm. It is likely that Carder began to explore concepts related to the glass that he would later name Aurene during his time at Stevens & Williams. Carder developed a method for creating an iridescent effect in a leaded soda lime silicate glass and submitted a patent for the gold iridescent glass Aurene on September 6, 1904. In 1905 Carder, through Steuben, debuted a line of blue Aurene decorative glass objects. Although other glass designers were creating iridescent glass at the same time, Frederick Carder’s process had only minimal overlap with the processes used by these other designers.

The process for creating an Aurene object is complex and contains several steps. Frederick Carder was known to be significantly secretive about his glass compositions and processing, but he also made significant notes and recorded observations in his personal notebooks. Carder’s Aurene glass for production was a soda lime silicate glass with added oxides of silver and nickel. This base glass was melted, and the object was then blown under reducing conditions, creating an exterior layer of reduced metal oxides. Next, the object was sprayed with tin chloride and heated in an oxidizing flame to produce the iridescent effect. All of these steps were done fully by hand, so the evenness of the metal oxide layer, the deposition of the tin salts, and the evenness of the exposure to the oxidizing flame were all the product of the skill of the glassblower creating the object.

This complex, multistep process creates a glass that has compositional differences across the bulk and surface. While Carder’s Aurene glass has been written about numerous times from an art historical perspective, scientific investigations of the glasses are difficult to find. Samples of gold Aurene glass were investigated though spectroscopic techniques, including x-ray fluorescence (XRF), scanning electron microscopy with energy dispersive spectroscopy (SEM-EDX), Raman spectroscopy, and Fourier transform infrared spectroscopy (FTIR). Through these studies the authors were able to begin to form a picture of the structure and composition of the Aurene glass, with a strong focus on the differences between surface and body. Finally, future work will be discussed, including recreating some of Carder’s Aurene compositions and techniques with a particular focus on furnace conditions.

Speakers

Annika Blake-Howland

New York State College of Ceramics at Alfred University

Annika Blake-Howland is a PhD Candidate in Glass Science at the New York State College of Ceramics at Alfred University. At NYSCC she studies cultural heritage science, specifically the manufacturing techniques and the spectroscopic analysis of historic glasses. Annika is also an... Read More →

Authors

Annika Blake-Howland

New York State College of Ceramics at Alfred University

Doris Möncke

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

From Fear to Familiarity: The Role of a 'Bug Bulletin' in Strengthening Integrated Pest Management

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Effective Integrated Pest Management (IPM) is a crucial element of preventive conservation, safeguarding collections from damage caused or signaled by pests. However, raising awareness and prompting action within an institution can be challenging, especially among staff not directly involved in pest monitoring. This challenge is compounded by the complex, data-heavy nature of IPM programs, which often require specialized knowledge to analyze and interpret.

At the University of Arizona (UofA) Libraries Special Collections, a small preservation team of four oversees a building-wide IPM program to monitor pest populations and mitigate their risk to the collection. Following a recent update to our program, we saw an opportunity to implement creative communication methods to enhance staff engagement and familiarity with the program—one such method was our in-house 'Bug Bulletin'. So far, this approach has proven effective in increasing overall awareness and participation in the IPM program.

The 'Bug Bulletin' is a quarterly internal report designed to demystify IPM, inform staff about current pest activity, and equip them with knowledge to support pest-prevention efforts. Limited to four pages, it combines practical updates on pest occurrences with engaging content, including short pest profiles, fun facts about common pests, recognition of highly engaged staff, and best practice recommendations. Special attention was given to creating visually appealing layouts and using clear, non-technical language to ensure accessibility across all departments—whether administrative, facilities, or curatorial.

The bulletin's impact has been twofold: it elevated IPM as a shared institutional responsibility and enhanced staff members' ability to recognize early signs of pest infestations. By incorporating visuals and humor, the 'Bug Bulletin' has transformed how staff approach this otherwise unappealing subject matter, making it more engaging. Informal feedback from colleagues suggests that the bulletin has inspired closer observation and a greater adherence to pest-prevention practices.

Beyond increasing engagement, the success of the 'Bug Bulletin' has sparked discussions about adapting other internal communication strategies, encouraging a more interdisciplinary and integrated approach to preventive conservation. This project has highlighted the value of innovative, staff-wide communication strategies at the UofA Libraries Special Collections in strengthening preventive efforts and building institutional resilience against pests. In the end, IPM and other preservation strategies greatly benefit from institution-wide support, understanding, and engagement.

Speakers

Elise Etrheim

Preservation Assistant, University of Arizona Libraries Special Collections

Elise Etrheim holds a Bachelor of Science in Chemistry with a minor in Art History from Emory University, where she first discovered her interest in art conservation and preservation. During her undergraduate studies, she completed an internship at the Michael C. Carlos Museum and... Read More →

Authors

Elise Etrheim

Preservation Assistant, University of Arizona Libraries Special Collections

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

From Genesis to Revelation: The Restoration of Richmond Barthé’s Exodus and Dance

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Exodus and Dance is an 80-foot concrete bas-relief sculptural frieze consisting of 16 individual panels designed and executed by artist Richmond Barthe in 1939. The sculpture was originally designed for an amphitheater to be constructed in the Harlem River Houses, the first of two housing projects in New York City funded by the Federal government to provide quality housing for working-class African Americans. Unfortunately, the amphitheater was never constructed, and the sculpture was not installed.

Exodus and Dance was later installed in the Kingsborough Houses in Brooklyn in 1941. Barthe was disappointed and ultimately abandoned this piece, as it was created to inspire African Americans, and Kingsborough Houses were not specifically built for African Americans. Fortunately, the sculpture has become a meaningful site for residents and has gained importance as being a significant piece by Barthe, considered to be the most significant sculptor of African-American modernism in the first half of the 20th Century.

Mounted to a free-standing brick wall, the frieze and wall had fallen into a state of disrepair. In 2018, its deteriorated condition and safety concerns of the area drew the attention of local historians, art organizations, historical centers, and local politicians.

Understanding the importance of the piece, the New York City Housing Authority (NYCHA) assembled a team of outside restoration architects and conservators with their in-house designers to design the restoration scope of work. Ronnette Riley Architects, with conservation firms Jablonski Building Conservation, Inc. (JBC) and EverGreene Architectural Arts (EverGreene), worked through both the design and construction phases of the project allowing the needed continuity to address the intricate technical aspects of the project.

Communication with and input from all stakeholders and interested parties was vital to the success of the project. Several community presentations were held which allowed the views of the local Kingsborough Housing community to be voiced. Stakeholders included Kingsborough Houses Resident Association President, development operations staff, NYCHA, Weeksville Heritage Center, Fulton Art Fair, The Mellon Foundation, and NYC Public Design Commission.

The treatments were carried out through a continued collaborative effort among the conservation teams, masons, and structural engineers. The unusual conservation challenges of this project will be discussed including the safe removal of the panels; stabilization without altering the physical properties and visual design; and integrating the artists’ manufacturing methods with the new support system, to not cause undue stress on the large, thin relief panels.

This presentation will highlight the multi-faceted collaboration of owners, caretakers, users, stakeholders, architects, contractors, and conservators to conserve and restore this culturally significant artwork. It will also focus on the innovative two-conservator approach employed during the conservation process where JBC lead the design efforts and EverGreene peer-reviewed and offered support as well as implemented the removal, treatment, and reinstallation procedures.

The project offers a unique, cooperative approach between city and community stakeholders and preservation professionals, allowing an opportunity for new stories to be told by the community, offering a renewed understanding of the artist, and emphasizing the impact of artworks in public spaces.

Speakers

Kelly Caldwell

Conservator, EverGreene Architectural Arts, Inc.

Kelly is a conservator with over 10 years of experience as an archaeologist and conservator working primarily overseas. She is currently based in our Ottawa, ON office where she manages our Canada based projects. She brings a unique perspective to CSI based on her previous work experience... Read More →

Helen Thomas-Haney

Authors

Helen Thomas-Haney

Katharine George

Kelly Caldwell

Conservator, EverGreene Architectural Arts, Inc.

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

From Historical Practices to Modern Solutions: A Material Science Review for In-situ Underwater Cultural Heritage Conservation

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Over 20 years since in-situ preservation was established as the first option for managing underwater cultural heritage (UCH) in the 2001 UNESCO Convention on the Protection for the Underwater Cultural Heritage. The principal has found its success in the recent openings of artificial reefs, marine protected areas and archaeological parks across the world. Previous publications have provided comprehensive reviews of managing the UCH by large-scale projects through reburial, excavation or the establishment of the aforementioned designated spaces. However, the detailed description of conservation materials used in preventive or interventive treatment is often neglected in reviews, hindering the exchange of technical knowledge and the development of potential new UCH conservation materials. This research, for the first time, presents a holistic review and catalog of conservation materials involved in the treatment of underwater cultural heritage. Aligning with the authors’ expertise, a material science perspective is taken to carefully evaluate their applicability and effectiveness and enlighten further material development. First, exhaustive literature research is performed using Google Scholar and OpenAlex, considering the search engines' inclusivity. As a specialized field of study, literature regarding underwater cultural heritage is not necessarily published in SCI journals (for which Web of Science search engine is often used) but is more commonly seen in conference proceedings or organizational guidelines. Bibliometric data are analyzed to represent trends in conservation materials seen in preserving underwater cultural heritage and a breakdown of demographics in their development. Yet just literature is far from the full picture of materials that have been used in the field. Experienced practitioners, archaeologists or conservators devote their time to field projects more than writing and publishing papers. Secondly, a series of interviews with UCH experts have been carried out to collect material that they have been empirically using in UCH projects. Questionnaires are being developed based on the first phase interview results to further gather this knowledge in a larger population. Three types of substrates are focused on in the research: woods, metals and stones, which raise the most concerns during the interviews and represent a significant proportion of UCH. The conservation materials researched fall into three categories based on their function: protective coverings, consolidation agents and chemical degradation inhibitors, such as corrosion inhibitors. For each of these materials, their selection and application are documented and evaluated based on effectiveness, underwater applicability, environmental impact and cost/accessibility. Climate change is posing significant threats to our UCH, through, for example, a rising sea level, ocean acidification and extreme weather events. Contrarily, UCH preservation projects are often operating under a tight budget. This project presents a first attempt to resolve the dilemma by knowledge-sharing, expanding the practitioners’ toolbox with material science-proven options.

Speakers

Chongwen Liu

Authors

Chongwen Liu

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

From Minneapolis to New York City 1958: The XRF story of two Madonnas by Licio Isolani

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This work presents the non-invasive X-Ray Fluorescence (XRF) and Macro XRF (MA-XRF) results of the study of two contemporary madonna paintings by Licio Isolani. Licio Isolani (1931-2015) is an Italian Artist from Volterra who immigrated to Minneapolis in 1956 as he was hired to make commercial religious sculptures by a local company. In 1958, however, Isolani found his way to New York City where he remained for the rest of his life. There he established his studio and became a founding member of the first cooperatively based galleries, the “10th Street Galleries". It is during this transition from Minneapolis to New York City, that he painted the Madonnas, which are his last known figurative paintings now housed at Pratt Institute where he taught for 50 years. The XRF results coupled with optical microscopy show that the reds, yellows and orange areas on both madonnas are mainly composed of varying ratios of ground copper and zinc metals and tin is present only on the gray areas. The main XRF differences observed among the madonnas are on the white areas: lead white is heavily present in the Minnesota Madonna, whereas mixtures of ground aluminum and a barium white are found in the NY madonna. This mixture allowed Isolani to achieve a more luminous transparent white that he repeated in later paintings. In addition, the NY madonna displays light blue luminous areas which are absent in the Minnesota madonna. Copper and Chlorine along with Aluminum are present in these areas suggesting the possible use of thalo blue. Visual examination showed that the artist may have used cartoons to transfer his designs, as areas that resemble “giornatas” are seen in the Minnesota madonna, whereas the NY madonna show “small red dots contouring the design. MA-XRF results show that the dots are mainly composed of iron, which suggest the use or the “imitated use” of the traditional “pouncing technique”.

It is noticeable Isolani was already experimenting with novel materials while in Minnesota at the same time that was making commercial madonnas for churches and other religious institutions. This non-destructive analysis is the first step into the exploration of Licio Isolani’s materials and techniques, and further molecular spectroscopy studies are underway to fully understand the complexity of these paintings that keep and break with the Renaissance tradition ingrained in the artist.

Speakers

Dayne Traynor

Alissa Yong

Authors

Alissa Yong

Dayne Traynor

Eleonora Del Federico

Elivia Leporace

Research Associate, Pratt Institute

Malena Ramsey

Renato Miracco

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

From Ruin to Radiance: collaborative work for Surviving Priest’s Wig from New Kingdom by using Eco –friendly preservation

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Wigs and hair extensions were worn as items of both daily and funerary accessories, combining the desire for ornate and impressive styles with the practicalities of cleanliness. The studied wig belonged to a priest and dated back to the New Kingdom,18 Dynasty. The construction process of ancient Egyptian wig-making is very similar to modern practices nowadays. Human hair was the most common raw material used in wigs' manufacturing. In later periods, plant fibers of date palm trees were used as wig stuffing. A mixture of beeswax and resin was used in wigs' styling; to hold the braids and curls. Braids were fixed to the net with special nots. The wig reached GEM-CC in a deplorable condition. Firstly, we collaborated with creators and databases to know all historical data about it, then it was subjected to optical investigation. The results were, firstly, that it was suffering from fragility and separations in some parts, dirt dust, weakness, Then, according to the bad, unfamiliar smell and white spots, we suspected an existential microbiological infection, so we asked the team of the microbiological lab for help, and we collaborated with them. The results ensured there were bacteria, so they prepared the tent for fumigation. Then the team work committed to discuss work plan, that included Documentation by Photography for case of wig and it’s structure, and Digital microscope was used in the documentation of the shape of the net which used in fixing hair braids ,and we found out that there are two types of braids, double braid ,three strand braid, after that we decided collaboration with Scanning electronic Microscope lab(SEM) to identify types of hair, and analyses samples of hair by EDX to identify any components in manufacturing or components as a result of degradation, as a result of previous procedures we found out the method of fixing braids through the net, there was elastic band to expand and tighten wig size according to the head size. Therefore, based on the previous results, a treatment and preservation plan was developed that was appropriate and compatible with the wig manufacturing technique that was based on the use of Eco- friendly materials, and collaboration with the mount team at Organic Lab to execute an appropriate mount for display and a preventive conservation.

Key word: Wig- Braids-Net-Fumigation-Hummidification-Preservation-Display-eco-friendly.

Speakers

Asmaa Abdel moati

Authors

Asmaa Abdel moati

Asmaa Gamel Elbably

Ola AbdElAziz Ibrahim

Safwat alsayed

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Go Green: Investigation of eco-friendly agar gel-based cleaning system for removing rust stains on historical cotton textiles

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Abstract:

Throughout the ages, Egypt has possessed a distinctive heritage of textile arts that reflects the characteristics of each historical period and highlights its culture. Therefore,textiles are considered one of the most important collections of museums and archaeological sites. Over time, these treasures have been exposed to many deterioration factors (e.g., biological factors, and improper handling and misuse) that have resulted in their staining. Rust stains can be problematic for historical textiles, weakening stained areas and eventually leading to losses as iron ions catalyze polymer chain scission. The main purpose of cleaning is to reduce potential damage to artefacts by removing foreign material which can be harmful over time. Conventional cleaning methods such as mechanical cleaning, aqueous cleaning, solvent cleaning, enzyme cleaning, and others involve several drawbacks. Accordingly, this study investigates the use of eco-friendly gel-based cleaning methods. The use of a proper gel-based cleaning system provides a simple, effective and non-invasive solution for many of the challenges faced by conservators, through a controlled release of liquid cleaning agents to the object. Agar-based gel systems were selected based on their efficiency in cleaning artistic and historical substrates. The cleaning system under investigation involves the use of agar gel and oxalic acid-based deep eutectic solvent (DES). A multi-analytical approach was conducted during this study using visual inspection, digital microscopy, scanning electron microscopy (SEM), atomic force microscope (AFM), attenuated total reflectance Fourier transform infrared spectroscopy (ATR-FTIR), colorimetric measurements, pH measurements and fungal testing.

Keywords: Cotton textile; rust stains, gel-based cleaning systems; deep eutectic solvent; SEM; AFM; ATR-FTIR; colorimetric measurements; pH value; fungal testing.

Speakers

Dina Zaki

Authors

Dina Zaki

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Gossamer Paintings: A Web Connecting Paper, Textiles, and Paintings Conservators

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

In the late 18th century, Elias Prunner painted on a small canvas made of webs harvested from the Puster Valley of the Alps in what is now Austria. Gemalde auf Spinnengewebe or “Painting on cobweb” developed into a type of local folk art of predominantly ecclesiastical imagery; made to hang in windows while light shone through them. Social awareness of this style of painting doesn’t appear to have gone beyond the geographical limits of the Tyrol region until the mid-19th century when local art dealers found they could be sold as souvenirs to foreign travelers and employed multiple artists. The style changed from ecclesiastical themes to vignettes of local traditions and portraits of famous people. Since these paintings were made only for a short amount of time and by a small grouping of artists from a particular region, there are very few examples of them remaining, some estimates suggest ~100 or less.

A highlight of these paintings is in their materiality: that of the insect webbing that makes up the canvas, but as we discovered, not that of an arachnid.

The canvases were stretched and placed into a thick paper surround and then 'safely' packaged in either cloth-bound or paper-cover portfolios typically depicting a spider on a web just in case you forgot about the uniqueness of the object. Their material nature is inherently delicate and with the impacts of time, mechanical stress, and fluctuations in temperature and humidity, those that do remain are susceptible to future damage. Very few conservators have studied the material nature of these paintings, let alone treated them, and due to their rarity and fragility, it is necessary to inform the conservation community of their existence to avoid their potential passive extinction.

Northwestern University Libraries houses 5 of these paintings in various conditions, two having been treated in the 1980s. With sparse literature on the material nature of these objects, cross-disciplinary and international collaboration were necessary. Initial observations of these objects were compared to those in Manuela Wiesend’s 2012 thesis, which she generously supplied. Additionally, they were examined using Foster+Freeman’s VSC80 for reflected and transmitted light imaging, as well as stereo-microscopy to determine the layers and components of the painting. To further explore the materiality of the cobweb, polarized light microscopy was used to examine the fiber morphology, take measurements, and compare to reference samples of other insect-sourced fibers from the slide collection of the Art Institute of Chicago. From the analyses, it was clear that the webbing from the canvas has features that are distinctly different from other insect-sourced fibers such as arachnid silk and the far more common silkworm silk from wild or cultivated species.

Visuals on the poster will showcase the characteristics and features of these unique ‘cobweb’ objects: motifs on the original housings, subject matter, macro appearance, and patterns of damage. Images captured from the various analyses including imaging and fiber microscopy, and a brief overview of treatment techniques drawn from paper conservation will also be highlighted.

Speakers

Lindsey Williams

Authors

Lindsey Williams

Manuela Wiesend

Megan Creamer

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Half Scarab: The Story Behind Shades of Green on a 21st Dynasty Coffin Lid Unveiled through Advanced Imaging Techniques

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The second cache, discovered in 1891 in the Bab el-Gasus cache of Deir el-Bahri in the Theban necropolis, is one of the most significant archaeological finds related to the 21st Dynasty (1070–945 BCE) during the Third Intermediate Period of ancient Egypt. This cache contained the burials of 153 priests and priestesses.Coffin sets belonging to members of the Theban priesthood of Amun which distributed for 17 nation. The Bab el-Gasus cache remains one of the largest and most important burial collections from the Third Intermediate Period as it offers a rare glimpse into the burial practices of high-ranking religious officials. One particular yellow coffin lid from the Bab el-Gasus cache, belonging to a 21st Dynasty priest or priestess, was moved to the Grand Egyptian Museum (GEM) in 2016.

A polychrome coffin lid features modeled figures in dark green. One of these figures, a scarab, shows an intriguing detail: half of the scarab is glossy, while the other half reveals fingerprints in green. This observation suggests that not all of the green pigment is original. The scarab became the key to initiating an integrated approach and a collaborative study aimed at distinguishing between original and retouched sections on the coffin's surface. By examining the surface using imaging techniques, various shades of green were detected.

A deeper analysis using non-destructive techniques, including Multispectral Imaging (MSI), Reflectance Transformation Imaging (RTI), and X-ray Fluorescence (XRF), was conducted to map the painted layer. MSI revealed that two different pigments were used. The presence of dark and light green in the figures was further examined through Ultraviolet Fluorescence (UVF). Visible Induced Luminescence (VIL) identified three different sources for the two shades of green: Egyptian blue for the dark green elements, retouched wax for the dark green areas, and malachite as the main pigment for the light green shades. UVF highlighted the use of restorative wax, while portable XRF differentiated between the components of the dark and light green shades. RTI filters revealed variations in the grain size and brush strokes, helping distinguish between the application techniques and the nature of the green pigments.

The combination of data from Multispectral Imaging and Reflectance Transformation Imaging, along with the complementary analysis from X-ray Fluorescence, provided clear evidence of the original pigments, namely Egyptian blue and malachite, used for the green color. It also indicated the extent of the conservation work applied to the coffin lid. This research clearly demonstrates the importance of advancements in imaging techniques, analytical methods, and specialized archaeological knowledge, underscoring the value of collaboration in achieving a deeper understanding of cultural heritage.

Speakers

Mohamed Ragab

Conservator, The Grand Egyptian Museum

Islam Shaheen

Authors

Islam Shaheen

Mohamed Ragab

Conservator, The Grand Egyptian Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Historical Textile Restoration and Conservation Using Covalently Immobilized Enzymes on Chitosan Nanoparticles

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Historical textiles found in burial sites or museums are often at risk of becoming stained and dirty, which can lead to chemical damage. Therefore, it is crucial to thoroughly clean these textiles to prevent irreversible harm and ensure the complete removal of any deposits without compromising the original material. Scientific advancements and technology have innovated techniques that have been developed for the bio-cleansing of historic textiles and artistic surfaces using enzymes. This study specifically focuses on the application of lipase and alpha-amylase, which have been immobilized onto chitosan nanoparticles for the purpose of cleaning historical textiles. The synthesis, activation, and immobilization of the nanoparticles were evaluated and characterized using FT-IR and SEM, and the optimal loading time and units for the two enzymes were determined. It was found that the ideal duration for amylase was 4 hours with 25 units, while for lipase, it was 3 hours with 15 units.The cleaning procedure encompasses several sequential steps. It commences with the elimination of any prior restoration, followed by the initial installation process. Subsequently, the object undergoes mechanical cleansing.Within this study, chitosan was employed for the covalent immobilization of α-amylase and lipase enzymes, which were subsequently utilized for the cleansing and restoration of vintage textiles. The optimal loading units and durations were determined for both enzymes. Nanoparticle preparation, activation, and enzyme immobilization were evaluated using FT-IR, SEM, and TGA instrumentation.This approach ensures the preservation of the antique fabric's hue and serves as a deterrent against further fabric deterioration. The mending process encompasses multiple sequential steps, with the initial step entailing the removal of any previous restoration.

Speakers

Mohamed Elbehery

Harby El Nagar

Authors

Harby El Nagar

Mohamed Elbehery

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

How Did the Co-operation Between Different Institutions and Departments Reveal the Story of a Unique Vase of Pottery Preserved in the Grand Egyptian Museum?

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The Grand Egyptian museum acquire a remarkable vase made of pottery decorated with linen textile connected with group of blue beads rolled on the linen thread (Gem No.75751). The vase was excavated by The IFAO Excavations at Deir el-Medina, Luxor in 1934. It was moved to the Cairo Egyptian museum probably in the same year. Recently, the vase was transferred to the GEM’s inorganic Lab.

The paper tackles an extraordinary decorated vase with blue beads rolled around the neck. This pattern made the vase a distinguished object among the collection that are kept at the Museum. This unique vase is uncommon in the Egyptian pottery. Therefore, this unique type of the vase has desired mentioning and study. Therefore, the conservation team of Inorganic Laboratory intended to explore the mysteries of this unique vase through cooperation between various institutions and departments. This Collaboration represented by Database unit at the Grand Egyptian Museum, Records Department at the Egyptian Museum in Tahrir, the French Cultural Institute for Oriental Archaeology in Cairo (IFAO), the Department of Scientific Laboratories for Examinations and Analysis at the Grand Egyptian Museum and the conservation of organic Laboratory at the Grand Egyptian Museum.

The object is composed material: pottery vase, linen textile, and faience beads. The pottery vase in good condition. The linen was in bad condition while the faience beads in fair condition. However, the origin beads thread was very weakness caused divided into several parts. Consequently, the GEM conservation team decided to conduct an urgent treatment for the composed material. The object was cleaned and consolidated. The linen textile was Straightened and supported with the crepe fabric. The separated beads were re-arranged into the old original threads.

The research paper debates questions open for discussion: What is the history of the object from the first discovery to the final restoration in the GEM? What is the relationship between linen textile, rolled blue beads and the vase itself? What is the purpose and function of the decorated vase? Who was owned the vase in the past?

To answer the questions, the GEM team intended to examine the object under the digital microscope. This helped the team to better understand the technique and manufacture of the linen textile. The GEM team visited the labs and the Archival documents center at IFAO, Cairo to search for the old reports of the excavation in 1934 to explore the relationship between the decorated blue beads and the vase. Results are included in the poster. This poster highlights the cooperative work between different scientific fields and insure the power of unity in accomplishing scientific research.

Speakers

Yasmin Hattoum

Salma Youssef

Authors

Khaled Ismail

Nesrein Kharboush

Salma Youssef

Yasmin Hattoum

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Hypothetical Cooperation Model for Mount Makers, Conservators, and Curators in the Phase II Installation at the Grand Egyptian Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The installation of Phase II at the Grand Egyptian Museum (GEM) presents a unique opportunity to explore new theoretical frameworks for interdisciplinary cooperation between mount makers, conservators, and curators. This paper proposes a cooperative model that emphasizes shared decision-making, expertise exchange, and joint problem-solving during the installation process. Although theoretical, this approach could significantly enhance both the preservation of artifacts and the effectiveness of their exhibition.

In the context of GEM’s Phase II installation, the collaboration between mount makers, tasked with ensuring the stability and display readiness of artifacts, conservators, responsible for the long-term preservation of the objects, and curators, who provide the historical and cultural narrative, is crucial. This model advocates for a more integrated approach, where these professionals work closely from the planning stages through to the final exhibition setup.

The proposed cooperation model includes regular interdisciplinary meetings, shared databases for artifact condition reports, and co-created exhibition plans that consider both conservation needs and aesthetic presentation. By examining the installation process at GEM, this hypothesis explores how these cooperative strategies could be practically applied to ensure that artifacts are not only preserved effectively but also presented in a way that enhances the visitor experience.

The anticipated outcomes of this theoretical framework include improved artifact stability through bespoke mounts, better conservation through joint decision-making, and a more cohesive exhibition that reflects both curatorial vision and conservation requirements. This model, while hypothetical, provides a foundation for developing future methodologies that prioritize collaboration, enhancing the storytelling potential of museum exhibitions.

Speakers

Mahmoud Badawi

Fathy Mahgoub

Authors

Fathy Mahgoub

Mahmoud Badawi

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Imitation of a turned horn roller using 3D technology

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

A hanging scroll displaying a 1935 painting of a horse by the Chinese artist Xu Beihong was gifted to the Yale University Art Gallery in 1940. The painting is in what is likely its original mounting, set against a deep purple silk brocade. However, at some point the left lower turned horn roller knob became detached from the scroll and disassociated with the object. For its upcoming display at the Gallery, several replacement options were considered. Both knobs could be removed and new knobs acquired. This option was limited by the fact that the extant knob is adhered to the wooden dowel, making safe removal difficult. A new, similar knob could be acquired that matched as close as possible. A third option was pursued - to imitate the extant knob using 3D imaging and printing technology. Photogrammetry was chosen as the 3D imaging technique. The high gloss surface of the knob presented a challenge but using cross polarized light led to a successful scan. The empty dowel on the left side of the scroll was also 3D imaged in order to create a negative space in the final model and create a snug fit for the replacement knob. The two scans were refined and combined using open source 3D modeling software. The resulting model was 3D printed at the Institute for the Preservation of Cultural Heritage (IPCH) Digitization lab. A Formlabs Form 2 stereolithography (SLA) printer, which uses a UV laser to cure liquid resin layer by layer into hard plastic, was used to print the model in black photopolymer resin. The print is sandable and paintable. The print was faux finished using acrylic paints and gloss medium. The knob was then pressure fit onto the scroll, resulting in a visually satisfying integration for display.

Speakers

Cynthia Schwarz

Conservator, Take Care Conservation LLC

Cynthia Schwarz is the Principal of Take Care Conservation LLC, a conservation firm specializing in modern and contemporary paintings in the New Haven area. Until recently, she was Senior Associate Conservator of Paintings at the Yale University Art Gallery. She holds a BFA in painting... Read More →

Authors

Cynthia Schwarz

Conservator, Take Care Conservation LLC

Rachel Heyse

Richard House

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Innovating Cultural Heritage: Modified Smartphone Multispectral Imaging for the Pigment Analysis of Roman Egyptian Soter Shrouds

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This joint talk will present findings from a collection of 28 fragmentary funerary shrouds and two cartonnage pieces from Thebes, Egypt. These artifacts, known as the Soter shrouds, date to the 2nd century A.D. and represent a significant example of Roman Egyptian funerary practices. This study employed modified smartphone multispectral imaging techniques to explore the pigment compositions and artistic techniques utilized in these textiles, revealing previously unseen details and offering a deeper understanding of their production and cultural context.

Multispectral Imaging (MSI) is a powerful analytical tool used in cultural heritage conservation, although traditional setups are often prohibitively expensive and inaccessible to smaller institutions and conservators. To address this issue, Sean Billups developed a modified smartphone MSI system, which provides a cost-effective, portable alternative. This cutting-edge technology retains the capabilities of traditional MSI techniques while making advanced imaging more accessible.

At the heart of this research lies a collaboration between two MSc students at Cardiff University: Rachel Coderre and Sean Billups. Due to the lack of traditional MSI equipment available to them, Billups' unique modified smartphone system was adapted and expanded upon, enabling Coderre to apply these techniques to the Soter shrouds. This collaborative approach bridged expertise in imaging technology and conservation research while pushing the boundaries of MSI imaging.

The imaging results provided new information regarding the materials and manufacture of the Soter shrouds. The presence of organic pigments like madder lake was confirmed, and the distribution of Egyptian blue, a pigment known for its distinctive luminescence, was mapped. Partial luminescence revealed evidence suggesting potential over painting and pigment mixing, a technique previously identified in Roman Egyptian art. These findings point to the scope of pigment mixtures and suggest a diagnostic framework that could link Soter-related artifacts across museum collections worldwide.

The range of imaging methods revealed subtle similarities in patterning and pigment application across various shroud fragments, suggesting a potential connection in production methods and the possible involvement of multiple workshops. These findings contribute to a more nuanced understanding of the artistic practices and potential trade networks associated with Roman Egyptian funerary textiles.

Our project highlights the potential for innovative and accessible technologies to drive advancements in cultural heritage research. By expanding the use of MSI into under-explored areas, we aim to make previously inaccessible analytical tools more widely available. This breakthrough presents an attractive option for institutions and private practices seeking to maximize impact with limited resources. Beyond advancing our understanding of Roman Egyptian funerary textiles, this work paves the way for future research, utilizing affordable, innovative techniques that push the boundaries of traditional research methods.

Speakers

Sean Billups

Rachel Coderre

Object Conservator, Coderre Conservation LLC

Rachel Coderre is an emerging conservator specializing in objects conservation. She has recently received her Master of Science (MSc) in Conservation at Cardiff University, where her research focused on a multi-analytical pigment study of Roman Egyptian funerary textiles. Rachel's... Read More →

Authors

Rachel Coderre

Object Conservator, Coderre Conservation LLC

Sean Billups

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Investigation into uses of silicone rubber for tarnish removal and metal polishing

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This poster looks at silicone rubber as a tool for silver polishing and tarnish removal. Silicone rubbers mixed with calcium carbonate as ‘polishing erasers’ have possible applications on artworks with mixed media components or fragile sections that pose challenges to traditional polishing methods. Three types of silicone rubber were sourced from Smooth-On to test efficacy and control on tarnished silver surfaces. The three rubbers under review are Sorta-Clear 12, Mold Star 30, and Equinox 40. All three silicone rubbers are platinum-cure and can be easily mixed by volume with a 1A:1B ratio. Each rubber was chosen for its specific Shore A hardness (ASTM D-2240). Sorta-Clear 12 is 12A, Mold Star 30 is 30A, and Equinox 40 is 40A, with the higher number denoting a harder rubber. Each rubber was cast into bricks with different amounts of lab-grade calcium carbonate mixed into the rubber during its pot life. A variety of cast and cut shapes of the cured rubbers, application lubricants, and clearing solutions were tested. This poster will review the process of mixing the rubbers, the addition of calcium carbonate, and the evaluation of each mixture’s ability to safely remove tarnish. Implementations of this tool will be discussed, as well as possible advantages and disadvantages.

Speakers

Megan Randall

Object Conservator, Midwest Art Conservation Center

Megan Randall is an Object Conservator at the Midwest Art Conservation Center. Previously she worked at the Museum of Modern Art (MoMA) from 2015-2021. Prior to entering the field of conservation, she worked as a finisher at Modern Art Foundry in Astoria, Queens. She received a Master’s... Read More →

Authors

Megan Randall

Object Conservator, Midwest Art Conservation Center

Olivia Thanadabout

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Joining hands for heritage: Story of The City Palace Museum, Udaipur, India

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

India’s rich history begins from the ancient civilisations to being the most diverse democracy in the world. Topographically, linguistically and culturally every region in India has its own uniqueness. Considering the scale and variety of tangible and intangible art forms in the country, their preservation has to be a combined effort and not limited to only conservation professionals. While professions in the heritage sector are steadily gaining popularity, the need of hour is to spread awareness and develop an inclination towards conservation in everyone. The conservation team at The City Palace Museum, Udaipur is taking initiatives to realise these objectives which will be highlighted through a poster.

The team has been actively taking efforts to engage various groups of people through in house activities and outreach programmes. Museum attendants, security personnel and guides as equal stakeholders were involved in training programmes to take care of the collection, safeguard it in emergencies and help in better implementation of museum rules. School and college students have also been invited to understand how various heritage departments work together for smooth functioning of a cultural institution. This programme was designed in a way so as to add heritage professions such as conservation to their list of future career options.

Outreach programmes are another realm of interest for the museum. It has been collaborating with other institutions in the country in order to popularize the Mewar collection beyond regional boundaries. Recently a major collection of maps and prints was conserved for an exhibition at another palace museum. As a part of this, the conservation team organized a talk and practical demonstration on conservation practices for a mixed audience of students, artists and heritage professionals. The intention was to understand their perspective and learn from their work experiences while imparting conservation suitable ways for protecting their personal possessions.

The positive response gained through these initiatives motivates the team to continue investing in them. The team hopes that the changes being attempted at the micro level will have a domino effect and usher in a conservation mindset through the country.

Speakers

Anuja Mukherjee

Bhasha Shah

Conservator, The City Palace Museum

Ms. Bhasha Shah has completed Bachelors in History (hons.) from University of Delhi and Masters in Art Conservation from National Museum Institute of History of Art, Conservation and Museology, New Delhi. She has attended Conservation Training Programme held at Institute of Conservation... Read More →

Authors

Anuja Mukherjee

Bhasha Shah

Conservator, The City Palace Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Keeping it Together: The use of Fine Fiber Stitching for Mending an Islamic Manuscript on Sandalwood Veneer

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

In 2022, the Northeast Document Conservation Center (NEDCC) received an unusual object for treatment from the special collections library at Middlebury College. The book was a 19th century partial Quranic manuscript bound in lacquered boards. While this type of binding is not uncommon, what made it remarkable was that the manuscript was written on a substrate of incredibly fragile sandalwood veneer. Nearly every leaf was cracked or fully broken and the sewing was no longer intact. Historic repairs and added wove paper borders had caused additional damage as adhesive strain had pulled on the veneer over time. The leaves were sewn on textile tapes and the tightback leather spine did not allow for safe opening or handling. On top of all of this, the media was extremely soluble. In bringing the book to NEDCC, the client’s hope was to allow for continued, though limited, use, maintaining as much of the original structure and function of the volume as possible.

The first and most obvious challenge that we faced was how to repair the sandalwood leaves. Given the solubility of the media and the cracks running directly through text, traditional mending with Japanese paper and wheat starch paste was not an option. Instead we decided to employ a fine fiber stitch technique, originally developed by conservators at the British Library to repair a copper-corroded Mercator Atlas. Though no copper-based pigments were present in our manuscript, the benefits of a low-moisture repair for our purposes were obvious.

In this technique, Japanese paper is blended into pulp which is dried in thin strips. Individual kozo fibers are then dipped in a very dry wheat starch paste and placed across the tear as a bridge, providing a strong and flexible mend. The result is a nearly invisible repair. Under magnification, these mends resemble stitching, which gives the technique its name.

After the veneer repairs were complete, the second, equally formidable challenge was rebinding the manuscript. Once the text block was resewn, it was determined that any adhesive applied to the spine would cause more stress and continued breakage. With help from colleagues at other institutions, a non-adhesive spine lining and rebacking technique was developed that promoted gentle movement and prevented further breakages.

Every step of this project required collaboration with colleagues in and outside of NEDCC. There were failures, setbacks, and other frustrations that could not have been overcome without a host of conservators and scholars coming to my aid. In this presentation, I will discuss the new approaches in methodology that I developed as the treatment progressed, but I will also reflect on the collaborative efforts that lead to its successful outcomes.

Speakers

Abra Mueller

Assistant Book Conservator, Northeast Document Conservation Center

Abra is an assistant book conservator at the Northeast Document Conservation Center. She holds a diploma in Bookbinding from the North Bennet Street School, an MS in Library Science with a focus on book history and preservation from Simmons University, and a Bachelor of Music from... Read More →

Authors

Abra Mueller

Assistant Book Conservator, Northeast Document Conservation Center

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Kintsugi Conservation: how broken books can help to repair people

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Kintsugi is a traditional and longstanding Japanese method of object repair. Dating back to around the fifteenth century, it is effectively a form of conservation that visibly accentuates and enhances the damage an item has sustained to create a new, equally engaging object. This moves away from concepts of invisible repair and perfection that dominate the conservation and repair methods of the global north. It is a way of allowing objects to live, change and adapt to time and circumstances whilst still functioning effectively. The result is a repaired object that is a new thing of beauty. The concept has parallels to the human journey through life, and provides a good philosophy for fulfilling a personal reconciliation to change and difficult situations, emerging in a different, but by no means worse, physical shape and space.This short paper will highlight the development and delivery of a community wellbeing project at The Museum of English Rural Life, Reading, and Norwich Museums, UK, which emphasised the potential of conservation and hand crafts as a route to improved mental health. Working with community partners, participants in the two Kintsugi Conservation programmes took a book of their choice that not only had some personal meaning but had also seen some life: it was imperfect in some way and possibly no longer functioning effectively as a bound object. Using practical conservation methods and a wide and eclectic material choice, the groups worked together to develop not only an understanding of book structures and methods of repair but had a space to express themselves and share their life experiences in a supportive, safe and inclusive environment. The journeys were as important as the destinations, and the results proved to be reflective, impressive and moving.The presentation will end with a discussion of the potential for conservation to perform a sensory role in outreach and engagement, dissolving barriers to understanding and access and helping to provide a visitor experience that has the capacity to reach all audiences equitably.

Speakers

Victoria Stevens

Authors

Victoria Stevens

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

La conservación preventiva en vestimentas amazónicas del Perú. El papel de la comunidad en la comunicación de sus saberes simbólicos y técnicas de fabricación tradicionales.

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

La vestimenta amazónica es una de las manifestaciones artísticas más expresivas, pues conjuga o comprende: (Materia prima, Procedimientos Técnicos y Sentidos estéticos).

Supeditada a la decoración de objetos diversos, utilizan diversos objetos que van desde plumas de aves acuáticas y aves domésticas, según la región, el algodón nativo, tintes naturales y barro según los colores a trabajar.

Su utilización está vinculada a la tradición de danzas, rituales y festividades de las diferentes etnias amazónicas como por ejemplo los grupos Asháninka, Huiototo,Conibo.

Machiguenga y Shipibo. Sus adornos en general no sirven solamente para ornamentos del cuerpo, lo mismo se puede decir del plumaje aplicado a otras superficies como armas, instrumentos musicales o máscaras; son símbolos, que se transmiten de manera verbal o no verbal. Por ello, tienen un lugar preponderante en sus ritos y ceremonias.

Algunas de sus vestimentas son usadas solamente en determinadas ocasiones, como en los ritos de pasaje y fertilidad donde el chamán encarna a seres sobrenaturales capaces de comunicar distintos estratos del cosmos, el cielo y el inframundo; el traje es el vehículo que lo ayuda a atravesar ese espacio sagrado. En las danzas de carácter ritual los penachos comunican relaciones simbólicas.

La vestimenta amazónica es expresión del delicado equilibrio entre la naturaleza el hombre, la magia, el universo de lo sutil que se debe preservar y salvar. La pérdida de los recursos tradicionales de subsistencia como la caza y la pesca, la fuerte aculturación de las poblaciones nativas, están contribuyendo al retroceso de su sabiduría ancestral, llevando en algunos casos a la persistencia del ornamento vacío de significado o tergiversado, el cual debe ser rescatado tanto en sus técnicas de elaboración como en la conservación preventiva como objetos de transmisión cultural.

Speakers

Rosemary Zenker Alzamora

Authors

Rosemary Zenker Alzamora

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Living in a Material World: Paint Manipulation in Bruce Goff's Abstract Compositions

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Bruce Goff (1904–1982), best known for his long career as an architect during which he designed over 500 buildings, also maintained a prolific painting practice. In works he referred to simply as "compositions," Goff worked through ideas, experimenting with form, texture and color free from the constraints of physics and structural integrity. More than 400 of these painted works are in the Art Institute of Chicago's collection along with archival materials, photographs, material samples and ephemera. Known for his eccentric and varied architectural practice that incorporated unique materials such as glass cullet, feathers and purple stucco, the artist had a similarly broad interest in materiality in his painted works. While his architecture has been studied to some extent, his paintings have never been technically examined. This study aims to examine how Goff made his compositions, and how his techniques came from or were carried into his architectural renderings.

Goff's only formal art instruction occurred while he was in high school in Tulsa, Oklahoma, after which he learned primarily by observation and experimentation, applying what he gleaned from books and in the making of architectural drawings. His early watercolors, both figurative and abstract, are relatively traditional in their execution: translucent planes of color on various thicknesses of artist papers. Looking for new opportunities on the heels of the Great Depression, Goff moved to Chicago in 1933 to work with sculptor Alfonso Ianelli and by 1935 was the Director of the Design Department for Vitrolite Glass, makers of the large curved, solid-colored glass panels often associated with Art Deco architecture, and teaching part time at the Chicago Academy of Fine Arts. Goff's time in Chicago proved to be transformative, marking a major shift in the materials and techniques of his compositions. He traded hand-painted backgrounds on pale, lightly textured papers for larger, commercially colored supports like construction paper and daylight fluorescent cardboard. As he shifted to primarily opaque watercolor, Goff's painted works from the mid 30s onward feature media applied by various types of spray, shapes from found-object stencils, foil star stickers and a resin that dried in crystalline patterns. His more elaborate architectural renderings also feature similar speckled textures, collage elements and stenciling. By diluting, pouring, spraying, wiping and blowing his paints, Goff became a master manipulator of his chosen media. In preparation for the 2025 exhibition Bruce Goff: Material Worlds in which over 30 of these works will be displayed—many for the first time—this collaborative study highlights his skilled, chance, and unique working methods across a wide body of work.

Speakers

kelly keegan

Authors

Craig Lee

kelly keegan

Ken Sutherland

María Cristina Rivera Ramos

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

MFT as a Tool for Collaboration with Indigenous Communities

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Conservation display parameters are devised to minimize damage to cultural heritage while simultaneously maximizing their viewability. The Field Museum performs microfade testing (MFT), sharing this information with collaborators to help them determine if an item is suitable for display. This poster presentation will review the Field Museum’s methodology and guidelines for best practices using MFT. It will highlight the outcomes of sharing test results with Native collaborators for various belongings currently on exhibit in the Field Museum’s Native Truths Hall. When working with Native American belongings and deciding on an appropriate length of time an item can safely be exposed to light, this analysis can become the basis for a collaborative discussion during outreach and communication.

When MFT is done in consultation with Tribal Representatives, it creates a space for shared stewardship. MFT results can help demonstrate the long-term stability of an item or flag potential light sensitivity. Explanations on how conservation and collections care specialists normally limit damage to an item, i.e. either decreasing the intensity of light exposure or shortening the exposure time, creates transparency in the work so that Native collaborators can make determinations that they believe are best for their belongings.

The purpose of using MFT when consulting and collaborating with communities is in the interest of giving Tribes and Native individuals more decision-making over their belongings in museum collections and allows the conservator to practice ethical stewardship. MFT presents conservation with another aspect of decision-making that can be shared and lead to an open discourse on how best conservators can work with underserved communities to care for their cultural heritage. It is important that conservation broadens outreach and collaboration by truly allowing Indigenous peoples to have authority over their cultural belongings.

Speakers

Erin Murphy

Conservator, The Field Museum

Erin Murphy is a Conservator in the Anthropology Collections at the Field Museum, and works in the Center for Repatriation. Erin initially joined the Field Museum’s staff in August 2018 and became the Lead project conservator for the renovation of the Native North American Hall... Read More →

Authors

Erin Murphy

Conservator, The Field Museum

Stephanie Black

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Monumental fills: Balancing conservation ethics, curatorial wishes, and engineering constraints

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The Penn Museum’s Coxe Wing opened in 1926 to display and house the breadth of the museum’s ancient Egyptian collection. Nearly 100 years later, the Coxe Wing is undergoing the largest renovation project ever undertaken by the Museum. When the renovation is complete, the new Ancient Egypt and Nubia Galleries will span 14,000 square feet of gallery space and will feature thousands of artifacts spanning all of ancient Egyptian history. Beginning in 2018, the Museum partnered with a team of designers, architects, and engineers to plan and design updates to these galleries, followed by a phased deinstallation of the exhibitions from 2018 through 2023. The monumental stone architectural elements were subsequently moved to a dedicated offsite workspace at the Conservation Laboratory Annex, where work on these materials continues. Decisions about structural support are made through intensive collaboration between conservators, engineers, and mount-makers. Decisions about the aesthetics of surface treatments are the result of conversations between conservators, curators, and the exhibitions department as well as outside designers and fabricators.

The Conservation Department is responsible for the evaluation and treatment of all objects selected for display, including the monumental architectural components of a New Kingdom pharaonic palace and painted stone blocks from an Old Kingdom funerary chapel. While the most critical work relates to the structural stabilization of the pieces, the aesthetic compensation is integral to the interpretation and overall visitor comprehension and experience. At this scale (e.g. 30-foot-high columns and 13-foot-tall doorways), the six feet – six inches rule becomes somewhat irrelevant.

Many of the monumental pieces have large missing sections. Some of these monumental pieces were included in the original 1926 installation and many have a history of extensive restoration. Much of the restoration work from the 1920s requires painstaking and slow deconstruction to reverse. As part of the new design, conservation, and engineering process, decisions are being made for loss compensation that must be stable enough to last another 100 years, but the conservation team is also emphasizing the importance of building in the flexibility to allow for potential future modifications or changes to the aesthetic compensation. Inevitably, the solutions are a balance of curatorial wishes, conservation ethics, and engineering requirements.

The conservation team has faced challenges in achieving consistency in the approach and appearance of large fills across a variety of monumental stone elements. This poster will present the approaches being taken and the rationale behind these decisions.

Speakers

Michaela Paulson

Project Conservator, Penn Museum

Michaela Paulson is a Project Conservator at the Penn Museum treating monumental limestone architectural features and a large wooden coffin for the renovation of the Egypt and Nubia galleries. She is also the Project Conservator for the community archaeology project, Heritage West... Read More →

Authors

Jennifer McGough

Julia Commander

Michaela Paulson

Project Conservator, Penn Museum

Molly Gleeson

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Mounting Solutions for Stone Sculptures: Enhancing Preservation with Polymer-Based Mounts

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This abstract provides an overview of the process and benefits of creating mounting solutions for third-century stone statues, primarily composed of limestone. The focus is on the utilization of a specialized mixture of polymers, lime stone powder, and sand to fabricate durable and aesthetically pleasing mounts.To ensure the preservation and stability of ancient stone sculptures, appropriate mounting techniques are crucial. Traditional methods, such as metal cradles or brackets, often pose challenges in terms of aesthetics, potential damage to the artwork, and long-term conservation. In response, a novel approach involving a blend of polymers, lime stone powder, and sand has been developed.The mounting process begins with a thorough assessment of the statue's dimensions, weight distribution, and structural integrity. A suitable mount design is then crafted, taking into account the sculpture's unique characteristics and the desired display orientation. The polymer-based mixture, carefully formulated with precise ratios of polymers, lime stone powder, and sand, provides strength, stability, and compatibility with the original stone material.The fabrication process involves mixing the polymers, lime stone powder, and sand to form a workable compound. This compound is then shaped and sculpted to create customized mounts that securely cradle the stone statues. The mounts are designed to distribute the weight evenly, minimizing stress points and potential damage.The advantages of using polymer-based mounts for stone sculptures are manifold. Firstly, the polymer mixture offers excellent load-bearing capabilities, ensuring the stability and protection of the artwork over time. Additionally, the mounts can be tailored to the specific dimensions and contours of each statue, allowing for a secure and aesthetically pleasing display. The use of lime stone powder and sand in the mixture enhances compatibility with the original material, minimizing the risk of chemical reactions or physical damage.The development of polymer-based mounts represents a significant advancement in the field of sculpture conservation and display. By combining the strength and versatility of polymers with the natural qualities of lime stone, a reliable and visually appealing mounting solution is achieved. This innovative approach ensures the long-term preservation and appreciation of third-century stone statues, while also elevating their display to new heights of aesthetic excellence and stability.

Speakers

Mahmoud Abo Elsoaud

Mohamed Salama gomaa

Authors

Mahmoud Abo Elsoaud

Mohamed Salama gomaa

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Multi-technique Characterization and Environmental Degradation Assessment of a 19th-Century Saint George Icon from the Anastasi Al-Rumi School

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The Monastery of Saint George for Nuns in Old Cairo is a historic Coptic Christian monastery located in the heart of Old Cairo, Egypt. The monastery houses numerous ancient artifacts and religious relics that offer invaluable insights into Coptic art and culture. One of the monastery's most valuable possessions is the Icon, a diptych depicting the Virgin Mary and Jesus Christ in the upper panel and the martyr Saint George in the lower panel. A comprehensive analytical study has been conducted on a 19th-century icon (Anastasius Roman School). The icon's structure comprises four layers: a wooden panel, a gesso layer, a single paint layer, remnants of a gilding layer, and a varnish layer. Notably, a canvas layer was absent.

An optical microscope (OM) was used to determine, the wood panel and to elucidate the icon's layered structure, the media of pigments and protective varnish was determined by (FTIR) analysis, (and XRD) was employed to identify the pigments, paint, and preparation layer. As well as (SEM-EDX) analysis provided information about the elemental composition of the various materials. The analysis revealed that the pigments used in this icon comprise. Green pigments are a Mixture of yellow and blue, and red color is a mix of (Pb3O4) and vermilion (HgS), yellow ochre (Fe2O3·H2O), Ultramarine blue, white lead (2PbCO3·Pb (OH)2). The white ground layer comprises calcium sulfate dihydrate admixed with animal glue, lamp black (C), The wooden panel was found to be made of spruce. The protective varnish applied is found to be shellac resin. Environmental factors and the absence of canvas contributed to accelerated oxidation, manifested as paint film cracking, delamination, and varnish yellowing. This study underscores the importance of environmental control and proper substrate selection for icon preservation

Key Words: paint layer - Pigments- varnish- wooden panel -yellowing- environmental control- Degradation.

Speakers

Romany Hens

Amany Kaiser

Conservator, Grand Egyptian Museum

Conservator for Ancient Egyptian wooden objects at the wood lab, Grand Egyptian Museum -Conservation Center (GEM-CC). Education (2023) Ph.D. researcher in Archaeological conservation entitled Experimental and Applied Study of The Protective (Facing) Materials Used in Detachment... Read More →

Authors

Amany Kaiser

Conservator, Grand Egyptian Museum

Romany Hens

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Nanocomposite-Based Consolidation of Tempera Paint: An Experimental Study

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Egg tempera paintings are particularly susceptible to various degradation processes, including cracking, flaking, and discoloration, primarily attributed to biological factors. To address these issues, surface consolidation techniques have been employed, relying on materials with adhesive properties to stabilize the paint layers. This study evaluates the performance of both conventional and nanocomposite consolidants on weakened archaeological egg tempera paint layers. The objective is to identify suitable materials that effectively reinforce the paint layer without compromising the artwork's integrity.

Six consolidates were applied to experimental samples, including Paraloid B72, Gelatin, and Funori, and their respective nanocomposites incorporating TiO2 nanoparticles treated samples underwent accelerated aging testing, including exposure to thermal and ultraviolet radiation, to evaluate their long-term stability. The samples were comprehensively characterized using scanning electron microscopy (SEM), Fourier-transform infrared spectroscopy with attenuated total reflection (FTIR-ATR), and colorimetric analysis.

The results demonstrate that polymer/TiO2 nanocomposites exhibit superior performance as consolidants for egg tempera paint layers. These materials enhance the durability of the paint layer against accelerated aging while preserving the icon's aesthetic qualities compared to their polymer-only counterparts.

Keywords:

Consolidation, tempera, paint layers, Paraloid B72/TiO2, Gelatin/ TiO2, and Funori/ TiO2 nanocomposites.

Speakers

Amany Kaiser

Conservator, Grand Egyptian Museum

Authors

Amany Kaiser

Conservator, Grand Egyptian Museum

Mona Abd El-Ghani

Sawsan Darwish

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Partnership-Driven Conservation and Stabilization of a New Kingdom Block Statue for Exhibition

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This paper explores the conservation and exhibition of a block statue of Imn-im-mhat, dating back to the 18th Dynasty of the New Kingdom. The statue, discovered in Luxor, Upper Egypt, had previously undergone restoration at the Egyptian Museum using materials such as gypsum and iron bars, which unfortunately led to significant damage. The rusting of the iron bars, in particular, severely compromised the statue’s material integrity, and the irregular base presented further challenges for stable display.

The conservation process at the Grand Egyptian Museum (GEM) was undertaken through a critical partnership between conservators and a mount maker. The project began with the careful separation of the statue’s parts to remove the damaging gypsum and rusted iron

bars. The reassembly of the statue was achieved using reversible adhesives and reinforced with polyester bars to ensure durability. Appropriate mortar was employed to strengthen and restore the weak and missing sections.

The irregular base of the statue posed a significant challenge, necessitating close cooperation with the mount maker to design and implement a custom mount that would secure the statue’s stability for exhibition. This partnership was crucial in addressing the structural and aesthetic implications of the statue’s presentation within the museum.

The successful conservation and stabilization of the statue exemplify the vital role that interdisciplinary cooperation plays in the preservation of cultural heritage. By combining specialized skills and knowledge, the GEM team was able to preserve and present the statue of Imn-im-mhat as a prominent exhibit, ensuring that its historical and cultural significance is accessible to the public

Speakers

Ibrahim Hussein

Fathy Mohamed

Conservator, Grand Egyptian Museum

My name is Fathy Mohamed Mahjoub and I graduated in 2000 and I have worked in restoration companies to restore monuments such as Mohamed Ali palace in Shubra and the restoration of high wall from 2001 to 2009 and currently work in the Great Egyptian Museum in the laboratory of stone... Read More →

Authors

Al-Shimaa Ali

Fathy Mohamed

Conservator, Grand Egyptian Museum

Hussein Kamal

Ibrahim Hussein

Mahmoud Fathy

Grand Egyptian Museum

Naglaa Abdullah

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Pew! Pew! Testing A Novel Application of Neodymium-doped Yttrium Aluminum Garnet Lasers in Asphaltic Paleontological Preparation

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

La Brea Tar Pits in California is the world’s richest Late Pleistocene (55 kya - 10 kya) fossil locality and an International Geoheritage Site. Renowned for its abundance of specimens and excellent preservation resulting from asphaltic taphonomic conditions, the Rancho La Brea (RLB) collection has a substantial representation of biological material. Only 14 fossiliferous asphaltic deposits are known globally, making preparation of such paleontological specimens highly specialized. RLB’s Fossil Lab is the only facility in the world skilled in large-scale preparation and conservation of asphaltic fossils.

Asphaltic fossil preparation is a chemical technique, requiring degreasing solvents to remove matrix of hardened asphaltic sediment. Current preparation protocol at RLB uses manual application of small volumes of solvent, Novec 73DE, in targeted areas of adherent matrix, softening the asphalt and loosening sediment for gentle separation from specimens. Manual osteological specimen preparation is routine, but preparation of arthropod and botanical specimens requires further study.

Lacking archived preparation records at RLB, there is no available data regarding past methods for arthropods or botanical materials. In a preliminary trial, manual preparation of arthropods with Novec 73DE demanded a highly controlled application of solvent to prevent over-saturating matrix surrounding the specimen, and disassociation of articulated elements. The mechanical effort required to remove stubborn matrix could lead to damage.

The fragility of these materials and complications arising from solvent preparation suggested investigation of a contactless preparation method. While the use of neodymium-doped yttrium aluminum garnet (Nd-YAG) lasers is becoming increasingly common in conservation fields, its application for the removal of surface asphaltic matrix from fossil arthropods and botanical material is novel.

The pre-preparation condition of selected specimens (Quercus n=3; Juniperus n=1; arthropod n=4) was documented photographically with a Canon EOS 5, and CT scanning with a Bruker Skyscan 1273. Manual Novec 73DE preparation was performed to

Speakers

Stevie Morley

Fossil Preparator, La Brea Tar Pits & Museum

Stevie Morley worked as a dedicated conservator and preparator of Late Pleistocene asphaltic fossils at the La Brea Tar Pits and Museum from 2017 until 2024. During their tenure, Stevie has conducted research into the effects of various solvents on asphaltic bone and their efficacy... Read More →

Authors

Stephany Potze

Stevie Morley

Fossil Preparator, La Brea Tar Pits & Museum

Vadim Parfenov

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Preserving Ancient Threads: Conservation and Analysis of Spinning and Weaving Tools in the Egyptian Textile Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This study focuses on the preservation, conservation, and examination of spinning and weaving tools from Pharaonic Egypt, specifically those displayed at the Egyptian Textile Museum. Utilizing a combination of material analysis, conservation techniques, and historical examination, this research aims to uncover the material composition, manufacturing techniques, and state of preservation of these pivotal artifacts.Through meticulous examination using non-destructive and minimally invasive methods such as microscopy, spectroscopy, and material testing, this study seeks to characterize the tools' materials, construction, and potential degradation. By understanding the chemical composition and structural integrity of these artifacts, preservation strategies can be tailored to ensure their long-term conservation.Furthermore, this research delves into the cultural significance of these spinning and weaving tools within ancient Egyptian society, exploring their roles in textile production, trade, and the socioeconomic landscape. By contextualizing these tools within their historical and cultural milieu, this study aims to elucidate their importance and contribution to the ancient Egyptian textile industry.The outcomes of this research endeavor to contribute not only to the preservation and conservation of these artifacts but also to the broader understanding of ancient textile technology. By safeguarding and comprehensively documenting these tools' materiality and significance, this study aims to ensure the perpetuation of Egypt's rich textile heritage for future generations.

Speakers

Youssef Elreweny

Student, Ain Shams University

Youssef Elreweny is a student at Faculty of Engineering in Ain Shams University, Cairo, Egypt. Interested in using modern technology in preserving cultural heritage. He has published many research papers in many conferences that support the use of modern technology in preserving cultural... Read More →

Authors

Youssef Elreweny

Student, Ain Shams University

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Reasons to Gather: Incorporating Traditional Japanese Tea Practice into a Museum Collection

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

In 2019, the National Museum of Asian Art (NMAA) received a collection of nearly two hundred items in the Kinsey Chanoyu Collection, which stems from Gregory Kinsey’s lifelong devotion to the practice of chanoyu. A former trustee of the NMAA, Kinsey offered his collection to the museum, the majority of which were accessioned into the Freer Study Collection for the purpose of using them in public programs focusing on the traditional preparation of Japanese tea. Sixteen pieces were accessioned into the Freer’s permanent collection due to their historical and artistic significance, with accompanying provenance documentation, and consequently will not be used in tea demonstrations.

This presentation will discuss the collaborative process undertaken by museum staff and tea practitioners in order to establish protocols for the preparation and active use of the Kinsey Chanoyu Collection. Prior to receiving the collection, tea demonstrations were held at the museum with materials brought in for the occasion. With this new donation, however, a process needed to be established that could safely incorporate the use of a portion of the museum collection and a new Collections Use Procedure specific to these materials had to be developed. Potential damage to collection materials during use, who would be handling the objects during the demonstration, and care of objects before and after use all needed to be considered in the appropriate context of traditional tea practice. Preliminary research indicated that along with NMAA, other museums in the United States were not using accessioned objects in tea demonstrations. As a result, conservations among stakeholders were vital and the different concerns and perspectives of the many voices involved, including tea practitioners, conservation, collections management, curatorial, and public programs had to be considered. Museum colleagues who work with collections used in other ceremonial contexts also were consulted for advice and potential models that could be applied. 

NMAA held its first tea demonstration using the Kinsey Chanoyu Collection in April 2024 with the Urasenke Tea Ceremony Association of Washington, DC (Chado Urasenke Tankokai Washington, DC) and there are plans for subsequent demonstrations each year to rotate among tea practitioners. This initial collaboration has been essential in creating understanding between the participating stakeholders, as well as assessing the role of visitors and the impact of public interaction on the collection. The protocol for use of the Kinsey Chanoyu Collection is still developing but this initial work provides a roadmap for future tea demonstrations and the need for continued collaboration and exchange.

Speakers

Ellen Chase

Objects Conservator, Freer|Sackler

Ellen Chase has been Objects Conservator in the Department of Conservation and Scientific Research at the Freer|Sackler, the Smithsonian Institution’s Museums of Asian Art since 1999. Prior to that she was a contractor or fellow at a number of museums including the Metropolitan... Read More →

Authors

Akiko Niwa

Ayumi Nelson

Ellen Chase

Objects Conservator, Freer|Sackler

Jenifer Bosworth

Tessa Lummis

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Recent Investigations into Amine Deposits from Air Handling Systems

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This investigation was spurred by the discovery of hazy films on the surface of paintings within the collection of an anonymous collecting institution. The Midwest Art Conservation Center, a non-profit regional organization, was notified and asked to consult on potential causes and risks. First, assumptions were made connecting the appearance of this haze to the presence of wax within either or both the synthetic varnishes on the paintings’ surfaces or in the lining adhesives. Further communication with collections care staff revealed the additional presence of a similar film on acrylic vitrines in nearby locations to the paintings. Inquiries with the museum’s facility team indicated a history of usage of corrosion inhibiting additives to the HVAC system in the building. Specifically, amine-based additives like diethylaminoethanol (DEAE), were found in air testing at the institution and are commonly used within many facilities. Preliminary research cited usage and concerns within collection spaces as early as 1985.

This project will further research the historical and current usage of neutralizing amines within facility steam humidification systems. Additionally, analytical testing will be conducted on the accumulated film deposits to more accurately characterize their composition. Going forward, the broader aim for this project is to foster and initiate open discussion regarding airborne additives within collection spaces and collaboration with collections professionals at other institutions.

Speakers

Rita Berg

Authors

Alexa Beller

Graduate Intern, Isabella Stewart Gardner Museum

Kristy Jeffcoat

Rita Berg

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Rediscovery and collaborative conservation of a limestone statue from Karnak: unveiling the legacy of king Mentuhotep Nep-Hetp-Ra.

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

this paper presents the rediscovery, professional cleaning, and collaborative conservation of a previously overlooked sandstone statue found in Karnak, Luxor. Initially transported to the Egyptian Museum in Cairo, the statue remained in obscurity for many years before its recent relocation to the Grand Egyptian Museum (GEM).

Upon its arrival at the GEM, the statue, which had been neglected and encrusted with layers of grime, underwent a meticulous cleaning process. This careful cleaning revealed previously obscured inscriptions and writings, providing significant historical insights. Through close collaboration with the museum curator, the cartouche on the statue was translated, confirming the statue's attribution to King Mentuhotep Neb-Hetp-Ra of the Middle Kingdom. Further analysis indicated that the statue was carved during the reigns of Kings Senusert II and Senusert III.

This discovery enhances our understanding of Middle Kingdom artistic and cultural practices and highlights the importance of interdisciplinary collaboration in conservation. The project combined scientific analysis, historical research, and expert craftsmanship, leading to the accurate identification and preservation of the statue.

Now a prominent exhibit at the Grand Egyptian Museum, the statue of King Mentuhotep Neb-Hetp-Ra stands as a testament to the legacy of ancient Egyptian rulers and the crucial role of collaborative efforts in uncovering and preserving cultural heritage. This presentation will cover the cleaning and conservation process, the insights gained from the inscriptions, and the statue’s significance within the broader context of Middle Kingdom history.

Speakers

Naglaa Elkammar

Mohamed Husin

Fathy Mahgoub

Authors

Fathy Mahgoub

Hanaa Moslem

Hend Gaber

Ibrahim Hussein

Mohamed Husin

Naglaa Elkammar

Noha Reda

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Relocating and Reassembling the Statue of King Amenemhat III (𓂋𓈙𓋴𓈙𓇬𓏏𓊪𓏏𓄂𓇋𓎼): Unveiling Its Secrets Through Advanced Restoration Techniques and Nanomaterial Composites"

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The statue of King Amenemhat III (𓂋𓈙𓋴𓈙𓇬𓏏𓊪𓏏𓄂𓇋𓎼), which was previously displayed at the Egyptian Museum in Tahrir, is a recumbent lion statue, also known as a "Sphinx," carved from granodiorite, a gray, highly durable, and low-porosity igneous rock. The statue is cataloged under GEM: 1381.

King Amenemhat III (𓂋𓈙𓋴𓈙𓇬𓏏𓊪𓏏𓄂𓇋𓎼) was the sixth ruler of the Twelfth Dynasty, reigning from 1860 to 1814 BC. The statue features a recumbent lion on a base also carved from the same block, with a human-like face that conveys expressive features and a lion's body symbolizing power, stability, and dominance.

The statue is distinguished by its large, non-human ears (lion’s ears), and traces of the royal beard can still be seen under the chin. The statue is fragmented with several missing parts, with the back separated into four different-sized sections, the smallest of which weighs about three kilograms.

The total weight of the statue with its separated parts is 2 tons and 227.5 kilograms, while the weight of the statue without the separate parts is approximately 2 tons and 55 kilograms.

The statue was discovered in 1863 AD in the San el-Hagar area and was transferred in 2019 AD from the Egyptian Museum in Tahrir to the heavy artifacts area of the Grand Egyptian Museum. After completing all conservation and restoration operations, the statue was placed in its final storage location on the Grand Staircase in the Middle Kingdom section in January 2020.

A specialized restoration team conducted radar scanning to examine the statue and reveal any internal supports or assembly structures. An engineering unit and mounting specialists were involved in reassembling and properly displaying the statue. The work yielded significant findings that will be disclosed later.

The restoration process also involved a thorough analysis of previous damage and the use of modern techniques to correct past mistakes and restore the statue to its original condition as much as possible. This process adheres to established standards for archaeological conservation, including thorough assessment, use of modern techniques, and transparency in the restoration and conservation process.

This statue stands as a testament to the collaboration among diverse disciplines and highlights groundbreaking techniques in restoration and archaeological investigation. Further insights and secrets revealed by these techniques will be presented in future disclosures.

Speakers

Mahmoud Fathy

Grand Egyptian Museum

Mohamed Husin

Fathy Mahgoub

Hanaa Moslem

Ahmed Sadek

Authors

Ahmed Sadek

Fathy Mahgoub

Hanaa Moslem

Mahmoud Fathy

Grand Egyptian Museum

Mohamed Husin

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Restoration and Preservation of a Plant Fiber Candlestick, the Folk Heritage Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

We have developed a preliminary plan for the restoration and maintenance of a plant fiber candlestick; cataloged with number 144 & code number 1709, as a part of the Qalyubia Governorate's collection. This candlestick have stored at the Folk Heritage Museum, the Higher Institute of Folk Arts at the Giza Academy of Arts. The candlestick exhibited visible signs of damage, Furthermore; we conducted an examination to identify the types of plant fibers utilized in its implementation to understand the manufacturing techniques employed it. This preparatory work was essential for the upcoming restoration and maintenance procedures.

We employed various methods to assess the damage to the candlestick. These methods included photographic documentation and the use of AutoCAD software. Additionally, we utilized a USB Digital Microscope to reveal concealed damage that remained invisible to the naked eye. An interesting discovery was the presence of embedded metal within the candlestick, particularly within certain flower ornaments attached to its arms, which provided the illusion of illumination. Moreover, we identified the plant material used in the archeological candlestick through examination with a Stereo Microscope. In order to obtain a broader assessment of the condition of the plant material state, we conducted spectra analysis using FTIR (Fourier-transform infrared spectroscopy). This analysis enabled us to gauge the extent of changes in the functional groups within the chemical composition of the plant material. After the discovery of the metal, which had caused several issues for the plant fibers, we adjusted the proposed treatment plan accordingly. This involved the careful detachment of the arms attached to the candlestick, previously secured with metal wire. The metal that caused the damage was carefully removed, and then we reattached the arms to the candlestick using plant fibers. These fibers were been consolidated with Klucel E to preserve them from external factors, ensuring the candlestick's preservation for future generations.

Speakers

Naglaa Khalifa

Shimaa Menofy

Authors

Amany Kaiser

Conservator, Grand Egyptian Museum

Naglaa Khalifa

Shimaa Menofy

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Rethinking the Book Cradle: Addressing Efficiency and Functionality challenges with book handling

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Book cradles are an important tool for handling and interacting with books. Whether it be for display, reading, imaging, or restoration, a book cradle is at the center of the book’s safety and stability for various interactions. There have been many iterations of the book cradle, from bespoke to manufactured, however there is a need for book cradles that meet goals of efficiency and sustainability.

Book cradles are crafted and modified to fit the book they are currently serving, whether that is by stacking multiple foam wedges, a custom acrylic stand, or rearranging pillows in order to support the proper places on a book. There is a need in reading rooms to balance efficiency, cost, and space. For cultural heritage institutions aiming for sustainability, single-use cradles may not be helping to reach that goal. For institutions who have limited space, keeping various sized wedges, where some of them may spend more time in storage rather than being used, can be challenging. Additionally, there may be situations where multiple patrons require a particular size of book support, but there may be a limited number of them available. Born from interviews with archivists, librarians, curators, conservators, and related professionals, the design of an updated book cradle is proposed. Furthermore this project displays the fruit of collaboration among designers, conservators, archivists, and other museum professionals to create purpose-built solutions for cultural heritage.

The designer and author, Louis Drum, gathered common “pain points” from interviews, determining the challenges that many professionals faced with book cradles, some of which included inefficiency of swapping wedges, or not finding quite the right angle of support. Within these interviews spine support was also emphasized, and how some current options may not be appropriately achieving it.

With these challenges in mind, a concept was modeled for an adjustable cradle using Fusion360 that can be moved and changed without needing to remove the book from the cradle, and can eliminate the need for custom single-use cradles.

Currently the materials proposed to make this cradle are the following: the internal structure of the cradle will be made of a sturdy acrylic; the surfaces will be covered with a thin layer of foam; and all of it will be wrapped in a conservation-grade fabric.

For the functionality, the opening angle of the cradle is currently able to be adjusted from 60° to 120°, and the plates can extend to fully support books with a wingspan up to 27 inches. The middle of the cradle leaves room for different-sized spine inserts, or allows for the use of book pillows. The cradle can be folded in half and stored in a custom carrying case that can also store spine inserts, book snakes, and any other accessory necessary for handling books.

There are currently more improvements to the model being worked on such as vertical angle adjustment and a wider angle allowance. With this in mind, the proposed cradle intends to enhance the experience interacting with a book while also being efficient, sustainable, and cost-effective.

Speakers

Louis Drum

Student, Rochester Institute of Technology

Louis Drum is a 4th year Industrial Design student at the Rochester Institute of Technology in Rochester (RIT), New York. He was recommended by Juilee Decker, Program Director of Museum Studies at RIT, to work in collaboration with Leah Humenuck, a book and paper conservator and Color... Read More →

Authors

Juilee Decker

Leah Humenuck

Louis Drum

Student, Rochester Institute of Technology

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Revealed – A hidden message from 1834

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

John James Audubon, a prolific naturalist and artist known for his seminal work The Birds of America, had only a few of his oil paintings survive to today. While 435 meticulously rendered hand-colored aquatints of Birds of America (1827–1838) are well known, his work in oil is considered quite rare.

Audubon’s Pacific Loons, an oil painting dating from ca. 1834, was acquired by the Leigh Yawkey Woodson Art Museum in 2007, along with the hand-colored aquatint. The aquatint features three birds, an adult male, a female, and a young bird in winter plumage, while the oil painting only depicts two birds. The location of the two loons in the painting mirrors that of the print. The discrepancy between the oil painting and the aquatint suggests there may be some additional information in the original oil painting. During a recent on-site collaboration, we used a recently developed RevealScan™-M multi-range infrared reflectance device (Middleton Spectral Vision, Middleton WI) to probe the painting.

The combination of the measured images shows three additional birds, both reminiscent of, yet clearly distinct from the bird that appears in the aquatint. The larger hidden bird has a very similar pose to the third loon in the print, yet it is located in a different spot and has an egg in its beak. The two smaller hidden birds are located roughly where the one in the aquatint is, but are much smaller, possibly even juveniles, as is the bird in the final rendition of the print. Even more interesting and possibly even more rare of a finding was a clear message underneath the painted reeds. After combining the near infrared (in the 1000-1700 nm range) and VNIR (400-1000 nm) bands, the contrast between the fine handwritten text and the visible outside oil painted layer was enhanced to make the words more legible. The note, presumably in Audubon’s handwriting, appears to be a note to the printmaker, possibly Robert Havell, indicating what additions to make to the printed rendition. The hidden birds and text tell a fascinating story about Audubon’s dynamic artistic process and collaboration with printmakers.

Speakers

Amalia Wojciechowski

Authors

Amalia Wojciechowski

Cayla Stifler

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Revival of A Unique Coptic Icon of the Archangel Michael dating back to 18th Century in Egypt

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Icons of angels represent the supernatural element of Eastern Christian belief in the eternal combat between Good and Evil.

This paper present steps of conservation of the Archangel Michael Icon, it is located in the Virgin Mary Church in the Nile Delta, painted by famous painter in the 18th century in Egypt, Ibrahim Al Naskh, The Copt Ibrahim ibn Sam’an Al Nasih was a notable (Diplomat, scribe, illuminator, icon painter) of a social standing perhaps comparable to that of a pharaonic scribe of old.

the main problems of this icon which I had to conserve it, was brown varnish, missing of paint layer and preparation layer as the features of the icon are almost lost (as we couldn’t know who the saint represented by this icon), finally the wooden support is very weak. Anyway, the object wasn’t in a stable condition, so this article will discuss the revival and conservation the object through different stages (Consolidation, Cleaning, Filling, Retouching, Varnishing).

This study included the determination of the pigment palette, the gold layer and the white ground layer and the wooden panel. The analytical instruments used were Optical microscopy, Environmental scanning electron microscopy coupled with energy dispersive X-ray emission and Fourier transform infrared coupled with attenuated total reflectance "FTIR-ATR". The analysis revealed that the pigments used in this icon red lead (Pb3O4), white lead (2PbCO3·Pb (OH)2), orpiment (As2S3), Carbon black and Ultramarin blue (Na,Ca)8(AlSiO4)6(SO4, S,Cl)2 In addition to, the white ground layer comprises calcium Carbonate admixed with animal glue. The gold areas were made of real gold leaves applied over an orange bole layer.

Keywords: Coptic icon, Conservation, SEM-EDX, FTIR-ATR, Retouching.

Speakers

EMIL HENIN

Head of Coptic Paintings Conservation Department, Ministry of Tourism and Antiquities

Authors

EMIL HENIN

Head of Coptic Paintings Conservation Department, Ministry of Tourism and Antiquities

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Scientific study on conservation of overhead mask of woman Cartonnage from Egyptian Museum in Cairo, Egypt

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Abstract

The purpose of cartonnage is to protect, , assist the soul's return to the body and decorate the mummy with symbolic funeral objects.

Cartonnage contains both inorganic and organic components which accelerates its deterioration; therefore, the restoration process demands considerable sensitivity and care.

It is an overhead mask of woman cartonnage from the Egyptian Museum in Cairo (catalogue 33279), which dated back to the Greco-Roman Period. It suffers from weakness, fragility, the spread of cracks and separations, and the presence of dust and stains.

The study focused on the following restoration steps:

Photography before the restoration work, then temporary consolidation using klucel J dissolved in alcohol with a 1% concentration using the spray method due to its weakness, followed by mechanical cleaning with suitable brushes and wooden sticks for dust, cleaning with organic solvents (alcohol - acetone) for stains , fixing the separate parts and injecting the cracks and weak parts with klucel J at a 3% concentration and fixation using a glass weight, assembling and strengthening the cartonnage parts with thin strips of Japanese paper and klucel J at a 3% concentration, photography after the restoration, and finally displaying it inside a display case at a 45-degree angle to be able to visible through Plexiglas.

Keywords: Cartonnage, Greco-Roman, klucel J, restoration, consolidation, Japanese paper.

Speakers

Raghda Mahmoud

Shimaa Mahmoud

Hytham Salih

Grand Egyptian Museum- Conservation Center (GEM.CC)

Authors

Hytham Salih

Grand Egyptian Museum- Conservation Center (GEM.CC)

Raghda Mahmoud

Shimaa Mahmoud

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Seeing Past the Surface: The Research and Conservation of the Raclin Murphy Museum of Art’s The Blessed Virgin Reading

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

One of the foremost artists working in Rome of his time, Carlo Maratti (1625-1713) and his Late Baroque classicism typified the tastes of the nobility and papacy. To help feed the demands for his art, which included Grand Tourists, Maratti managed a vibrant workshop where he trained three generations of successful painters. Within this studio practice, Maratti oversaw the production of studio variations of his most well-received compositions – one of which is The Virgin Reading. This poster explores the alterations and technical discoveries found during the conservation treatment of the Raclin Murphy Museum of Art at the University of Notre Dame’s The Virgin Reading by Carlo Maratti (studio), occasioned by the reinstallation of the collection in their new building. Using infrared imaging, x-radiography, and cross sectional analysis of paint samples conservators at the Midwest Art Conservation Center in Minneapolis revealed significant compositional changes made to the Raclin Murphy’s version, including the elimination of an entire figure. These discoveries may help to contextualize the painting within the many other variations of the composition and serve to illustrate the web of relationships among reproductions that emerge from an active workshop such as Maratti’s. The research and conservation treatment of the Raclin Murphy Museum of Art’s The Blessed Virgin Reading demonstrates how art historians and conservators can collaboratively provide a more holistic understanding of the provenance and manufacture of artworks.

Speakers

Alexa Beller

Graduate Intern, Isabella Stewart Gardner Museum

Authors

Alexa Beller

Graduate Intern, Isabella Stewart Gardner Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Seeing The Invisible: Revealing The Figure Of The Decorated Shroud of Si- aa With Book Of The Dead

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This study presents a collaborative effort between the organic conservators team and the imaging techniques team to approach revealing the hidden features of the shroud of “Si-aa.” with The Book of the Dead, dating to the 18th Dynasty (c. 1479–1425 BC) during the reign of King Thutmose III, was discovered in Qurna. Inscription in the left to right compartment in the 44 columns around the boat of Re; the hieroglyphic inscription in the left compartment is the Tb 66, Tb 67, Tb 179, Tb 64, Tb 67, Tb 179 chapters of the "Book of the Dead" . The poor understanding of the textual composition and the totally unskilled and unprofessional handwriting on the linen shroud of a certain Si- aa show that in this case the shroud was a “self- made” copy, most probably written by the owner himself, this suggests that the deceased was of high social level. The textile shows the boat with a curved prow and stern equipped with chambers and oars. woman carries the prow of the boat while the man stands on the boat. The shroud will be displayed for the first time at the Grand Egyptian Museum (GEM) gallery. During the documentation process, the conservation team observed variation in the textile's color and texture through visual inspection in the boat area, which required cooperation with the imaging techniques team to study this case using non-destructive techniques such as optical microscopy , multispectral imaging, and D-stretch imaging technology. The results revealed the existence of an outline of a hidden woman depicted above the bow of the boat. It is possible that the painter intentionally erased or omitted the depiction of women for reasons that remain unknown, or alternatively, the artist may have made an error by initially drawing the top of the ship, later correcting it by redrawing the bottom, or he didn't finish the drawing process. This study emphasizes the crucial role of documentation using modern non-destructive analytical methods to highlight designs and patterns that have faded or become invisible to the naked eye by highlighting traces of pigment and remaining ink.

Speakers

Amira Othman

Mohamed Ragab

Conservator, The Grand Egyptian Museum

Hend Yassin

Authors

Amira Othman

Asmaa Gamel

Hend Yassin

Hussein Kamal

Mohamed Ragab

Conservator, The Grand Egyptian Museum

Safwat Mohamed

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Shedding Light on the Color Sensitivity of Glass Beads

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

With the exception of risks related to physical forces and moisture-induced deterioration and crizzling, glass is generally considered to be among the least sensitive materials in the museum environment. Collections care resources used by conservators and cultural heritage caretakers categorize glass as insensitive to light, and current lighting recommendations for the display of beadwork are made with regard not to the beads themselves, but to the typically organic backing materials to which they are affixed.

In 2024, the Alaska State Museum (ASM) initiated a collaborative effort between beaders, culture bearers, and ASM staff with the goals of expanding access to the beadwork held at ASM; developing culturally appropriate conservation protocols for the preservation of beadwork originating with the Alaska Native communities represented in the ASM collection; and ultimately producing a collaboratively curated ASM exhibition of beadwork. In the preliminary stages of launching this collaboration, J. Kae Good Bear, a beader and museum professional, mentioned to ASM conservator Ellen Carrlee that she had observed beadwork with apparent color loss in museum collections. That some beads are vulnerable to color fading has since been verified anecdotally by other beaders and through examination of beadwork in the ASM collection, but this phenomenon has not yet been fully characterized or brought to the attention of the conservation profession. Loss of color in beadwork is concerning for several reasons: foremost, it disturbs the highly intentional and significant color choices of the beader; it also challenges conservators’ understanding that with the exception of the discoloring solarization of some glasses that can occur after prolonged exposure to high-intensity UV radiation, glass beads do not experience color change.

This poster describes preliminary research related to glass bead color loss. Many glass beads—especially modern beads, but some historic varieties as well—are colored with coatings or paints to reduce manufacturing costs and to achieve hues that cannot be easily produced with glass chemistry alone. This investigation identified three modes of color damage to which beadwork in museum collections may be susceptible: (1) fugitive dyes and colorants in coatings and paint media can fade with exposure to light, leaving behind a white, grey, or colorless binder; (2) some coatings and paints can be easily abraded or scratched, exposing colorless or colored glass; and (3) some bead colorants are soluble in common solvents including acetone, ethanol, and water. The latter form of color loss is particularly concerning, as water and ethanol (mixed or in isolation) are the two solvents that are currently recommended and most commonly used by conservators for cleaning glass beads. Clearly, further investigation is warranted.

This poster aims to amplify and corroborate the insights of beaders, among whom the notion of bead color loss is already relatively common knowledge; to highlight the criticality of collaboration between conservators and allied professionals, artists, and culture bearers; and to invite members of this field to be in touch and share in the larger ongoing ASM efforts to develop improved guidelines for the stewardship of beadwork.

Speakers

Devon Lee

Authors

Cheyenne Caraway

Devon Lee

Ellen Carrlee

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Stop, Collaborate and Listen: video stories that engage new conservation audiences

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Videos are a powerful way to communicate conservation. They can be successfully used to educate and inform newcomers to our field including members of the public, cultural heritage professionals and conservation students. Also, videos can enable us to advocate for our roles and workplaces, as well as the cultural heritage we work with. Conservation lends itself so well to video formats that whenever we do share our work in this way, people are eager to engage with us and our information.

Making videos a collaborative process, in both the production and sharing phases, increases their impact. Using three case studies, I explore how different audiences engage with conservation information shared across video formats and platforms; and analyse the success of collaboration at different stages of the production process.

Case Study 1: A Conservation YouTube channel – communicating with the public during Lockdown. In 2020 I created a conservation specific YouTube channel to educate and reach non-conservation audiences about our profession; and to provide a counterpoint to extreme restoration videos that are becoming more prevalent on social media. By collaborating with the audience interacting with each video, I iteratively developed subsequent videos that addressed recurring questions. As a result, the videos have withstood the test of time.

Case Study 2: One video, three teams – inducting professionals at the National Library of Australia. Collection Care collaborated with two key teams at the National Library of Australia and an external production company for this project to create a video induction for new and existing staff who work in a heritage building with heritage collections. Collaborative script development and filming led to a video that upskilled staff and embedded preventive conservation practices in the Library.

Case Study 3: Educating future professionals – developing videos at the University of Melbourne. In the Master of Cultural Materials Conservation course, videos have been created for treatment subjects to assist students to develop essential hands-on conservation skills and document their work. Collaborating with teaching team, the aim is to build a comprehensive library of video resources, tailored to the course and incorporating recent developments in the field to enhance students learning. The next stage is to collaborate with students themselves to incorporate their work into the videos.

Despite the differing contexts, resources and audiences that resulted in quite distinctive videos, these case studies highlight how diverse and adaptable video communication is for our important conservation messages and stories. Whilst there are different decisions to discuss for sharing videos internally versus on open platforms; there are interesting correlations between the legal, cultural and professional considerations in their creation and utilisation. Ultimately these videos show the power of working with others to create engaging conservation videos for different educational needs, audiences and platforms. Videos are versatile tools that can be used for education and advocacy. This justifies video creation becoming part of a conservator’s tool kit, and for conservators to collaborate with others to create important content about our profession.

Speakers

Lucilla Ronai

Conservator, Australian National Maritime Museum

Lucilla Ronai completed her Masters of Cultural Materials Conservation (paper conservation) in 2014 at the University of Melbourne. Upon graduating, Lucilla worked at the State Library of Queensland as an Exhibitions/Paper Conservator for ten months. She then moved internationally... Read More →

Authors

Lucilla Ronai

Conservator, Australian National Maritime Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Strategies for Using Natural Oils in Preserving Archaeological Metal Surfaces: A Technical and Practical Review

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Archaeological metal surfaces are a significant part of cultural and historical heritage, facing numerous challenges related to their preservation from corrosion and damage caused by various environmental factors. Recently, there has been growing interest in using natural oils as an effective means to protect these metal surfaces due to their unique properties in providing protection and insulation. This research aims to review strategies for using natural oils in preserving archaeological metal surfaces, focusing on evaluation and analysis techniques related to this approach.

IMPORTANCE OF THE STUDY

Archaeological metal surfaces, such as statues, jewelry, and historical tools, are prone to corrosion and deterioration due to changes in environmental conditions like humidity, temperature, and pollution. Natural oils may contribute to protecting these surfaces from environmental and mechanical damage due to their unique properties as insulating and protective agents. By studying the effectiveness of these oils, the research aims to provide a comprehensive understanding of methods to enhance the preservation of these valuable artifacts.

STRATEGIES FOR USING NATURAL OILS

The strategies for using natural oils in preserving archaeological metal surfaces include:

1. Selecting Suitable Oils: The effectiveness of insulation and protection depends on the type of natural oil used. Common options include oils such as lavender oil, coconut oil, and pine oil, which are known for their anti-corrosive and environmental resistance properties.

2. Application Techniques: Techniques for applying oils to metal surfaces involve various methods such as brushing, spraying, and manual application. These methods differ in their effectiveness and coverage, requiring the selection of the most appropriate technique for each type of metal surface.

3. Reapplication Frequency: To ensure ongoing protection, oils may need to be reapplied periodically. The frequency of reapplication depends on the type of oil and the surrounding environmental conditions.

CONDUCTED ANALYSES

To evaluate the effectiveness of using natural oils, several analyses were conducted as follows:

1. Chemical Analysis:

* Spectral analysis was used to determine the chemical composition of natural oils and ensure there were no harmful additives. Results showed that natural oils contained compounds that interact positively with metal surfaces and do not cause adverse reactions.

2. Mechanical Analysis:

* Hardness and flexibility tests were conducted to assess the impact of oils on the strength of metal surfaces. Results indicated that the oils provide a protective layer without significantly affecting the mechanical properties of the metal.

3. Microbiological Analysis:

* The metal surfaces were examined to determine the impact of oils on microbial growth. Results showed that natural oils help reduce microbial contamination on surfaces, thereby enhancing the effectiveness of protection.

4. Thermal Analysis:

* Thermal expansion tests were conducted to evaluate the stability of oils under varying temperature conditions. Results demonstrated that natural oils maintain their protective properties at moderate and high temperatures.

5. Visual Analysis:

* Visual techniques were used to assess the improvement in appearance and protection of metal surfaces from visible damage such as scratches and corrosion. Visual images showed significant improvement in the condition of surfaces protected by oils.

RESULTS AND RECOMMENDATIONS

The analyses indicated that using natural oils can be effective in protecting archaeological metal surfaces, providing an effective layer of insulation against corrosion and environmental damage. It is important to select appropriate oils and apply them in a manner suited to the type of metal and environmental conditions. Periodic reapplication of oils is recommended to adapt to environmental changes and ensure continuous protection.

This study demonstrates that natural oils represent a promising option for preserving archaeological metal surfaces, offering a sustainable solution to protecting them from damage. By integrating evaluation and analysis techniques, strategies for using natural oils can be improved, providing effective solutions for preserving cultural heritage.

Speakers

Shaimaa Hemid

Conservator, The Grand Egyptian Museum

Abd Alkader Jaballah

Mamdouh Tahoun

Authors

Abd Alkader Jaballah

Alla Badwy

Mamdouh Tahoun

Mohamed Abd Elazem

Shaimaa Hemid

Conservator, The Grand Egyptian Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Stuck on You: An Experiment in Separating Oil-based Printing Ink from Acrylic Glazing

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Objects stuck to their glazing (or other materials) is not an uncommon problem in conservation. However, much of the literature regarding adherence to glazing focuses on photographs stuck to glass, and there is little to be found highlighting other circumstances. Thus, when tasked with separating thick oil-based printing ink from acrylic glazing, experimentation with novel removal techniques was required.

Untitled (1983) by David Engel, in the collection of the Virginia Museum of Fine Arts, is an abstract etching and linocut on heavy wove paper. The linocut component consisted of several thick and textured layers of oil-based printing ink. Untitled had been float mounted with wide margins onto a backing board and framed without a window mat or spacers to hold the acrylic glazing away from the media, resulting in parts of the topmost red ink layer becoming adhered to the acrylic. Raking light photography emphasized the areas of the ink that were stuck.

A mechanical method was deemed the safest avenue for removal, due to the possibility of microcracks forming in the acrylic when exposed to solvents and since the margins surrounding the print made the media inaccessible for testing. As removing the print in pristine condition was highly unlikely, the primary goal of treatment was to remove the print with the least amount of media loss possible.

To try different removal techniques and determine how best to release Untitled, I created linocut mockups and used acrylic glazing to recreate the conditions of Untitled as closely as possible. I tested several mechanical methods of separating my mockup prints from their acrylic, including (careful!) brute force as a control, humidification, and temperature modification. All the mockups were removed with a microspatula, using a gentle twisting motion near the stuck ink. The results of these approaches can be illustrated through images and micrographs.

My testing showed that freezing the entire mockup was the most successful method. Using a chest freezer, I froze Untitled and removed it from the acrylic slowly, over the course of several days. The largest adhered areas were less responsive to my microspatula technique, so after testing a few more frozen mockups, I found a mat cutting blade very effective for separating the remainder of the ink from the acrylic while Untitled was still frozen. These techniques resulted in a freed print in very good condition; the few areas of loss that occurred during the removal process were easily reattached or filled and inpainted. After treatment, there was virtually no visual evidence that the print had been adhered to its glazing.

Though the materials and condition of an individual object affect the feasibility of freezing, these experimental results provide a new technique to consider for the separation of hydrophobic media stuck to acrylic glazing.

Speakers

Frances Opferman

Suzanne Deal Booth Fellow in Paper Conservation, Harry Ransom Center

Frances Opferman is the Suzanne Deal Booth Post-graduate Fellow in Paper Conservation at the Harry Ransom Center at the University of Texas at Austin. She recently received her Master of Art Conservation degree from Queen’s University, in Kingston, Ontario, Canada, specializing... Read More →

Authors

Frances Opferman

Suzanne Deal Booth Fellow in Paper Conservation, Harry Ransom Center

Samantha Sheesley

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Study and conservation of archaeological glass dish from the early Islamic era extracted from the excavations of the American Research Center in Fustat, Egypt.

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The Presentation discusses a special case of an archaeological glass object from the early Islamic era that was extracted from the excavations of the American Research Center in Fustat, Egypt, in 1966 and is currently in the storerooms of the Museum of Islamic Art in Cairo.

The glass dish appears to be made up of two layers of glass, but this is not true. However, this appearance required studying the reason, and we find that the glass object has glass corrosion and that part of the glass layer has fallen off and is missing, which makes the shape of the object appear to be made up of two layers of glass.

When we see the shape of the glass corrosion on the object, we find that it is consistent, except for some places on the object that appear black as spots. This necessitated a study to identify the reason for the difference in the shape and color of these places. SEM with EDX were used to identify this reason and to study the components of the glass dish. A USB Digital Microscope was also used to examine the surface of the glass dish, including the glass corrosion, as well as the places of the fallen parts on the dish, which confirms the presence of fallen parts of a layer of glass.

When the glass dish was discovered in the excavations of the American Research Center in the late twentieth century, it was found to be broken to many parts and there is a missing part, so it was previously restored. However, recently, parts of the creature were found to be separated from the previous conservation, and there was a space between its assembled parts. UV photography was used to identify previous conservations, as well as a sample was taken from the material of the previous assembly and analyzed using ATR analysis, and it was identified. The previous assembly was disassembled and reassembled the object, the previous yellowed consolidation material was cleaned and removed, a consolidation material was applied to the corrosion glass parts of the object, and Paraloid was used for the consolidation, and the glass plate was preserved in a storage box that was specially made for it from acid-free cardboard.

The glass of the dish is transparent and has decorations, and therefore these decorations do not appear clearly except at specific lighting angles. These decorations were identified specifically and drawn using Adobe Illustrator, and the shape of the decorations for the missing part was also imagined.

It is worth noting that this archaeological glass dish was participated in one of the temporary museum exhibitions after it was studied and restored.

Speakers

Mohammad Abdelkarim

PhD Researcher, Faculty of Archaeology, Fayoum University

I am Mohammad Abd Elkarim. 38 years old almost. I am a PhD researcher, Faculty of Archaeology, Fayoum University, Egypt. More than 11 years of experience in conservation work. I have a master’s degree in conservation and restoration of antiquities, Conservation department, faculty... Read More →

Authors

Mohammad Abdelkarim

PhD Researcher, Faculty of Archaeology, Fayoum University

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Synergy of Sciences to Protect Heritage: A Comprehensive Approach for Treating Salt-Induced Damage in New kingdom limestone column

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This study focuses on the conservation and restoration of a limestone column segment from the New Kingdom, originally housed in the Egyptian Museum in Cairo. The artifact features engravings on three sides depicting a man in a devotional pose, with hieroglyphic inscriptions on the fourth side. It was transferred to the Grand Egyptian Museum (GEM) for essential restoration work prior to its exhibition.

The column was in a severe state of deterioration due to high salt content, which caused fragment detachment and surface degradation. A close collaboration between conservators and chemists was essential to analyze the chemical composition of the salts, leading to the development of a comprehensive and tailored treatment plan.

The research highlights the development of a specialized, salt-resistant mortar, designed to fill gaps and support the structural integrity of the column. This innovation represents a significant step forward in the field of conservation, addressing one of the primary challenges posed by salt-induced deterioration.

The restoration process included salt extraction, consolidation of fragile fragments, and the application of the newly formulated mortar. This study underscores the importance of interdisciplinary cooperation in archaeological conservation, illustrating how teamwork between conservators and chemists can result in innovative solutions to complex preservation challenges.

The research concludes with an evaluation of the restoration outcomes, emphasizing the significance of displaying this unique column in the GEM. The study reinforces the importance of ongoing collaboration and innovation in preserving Egypt’s cultural heritage for future generations.

Speakers

Doaa Mohamed

Authors

Abdelrahman Mohamed

Doaa Mohamed

Hend Gaber Sadek

Mohamed hussin

Noha Reda Mohamed

Ramadan Salah El-Din Abdel Hafez

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Technical and Scientific Methods for Dating and Authenticating Faience Objects in Ancient Egypt: Application to Four Ushabti Statues

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Faience was a significant material in ancient Egypt, serving as a successful imitation of precious stones. The ancient Egyptians utilized faience in jewelry-making from ancient times. This material, along with turquoise, lapis lazuli, and green feldspar, is noteworthy for its resemblance to these precious materials.

This study investigates four Ushabti statues crafted from faience, focusing on the methods used to determine their dating and authenticity. The research involved comparing artistic and technical styles across eras using X-ray and X-ray fluorescence (XRF) analysis.

1. Artistic and Technical Dating and Authenticity:

Ushabti statues are renowned for their elegance, high-quality craftsmanship, and detailed features, including well-defined body features and tightly woven garments. These characteristics are indicative of the New Kingdom period, particularly because the colors used in glazing—blue and green-blue—were prevalent during this time due to the discovery of cobalt.

2. Technical Analysis:

* X-ray Analysis: The internal core and formation process of the statues were examined using X-ray imaging. Results revealed that the statues were molded using open molds and then joined by placing a fabric strip during the casting process to connect the two parts. X-ray images showed fabric remnants inside the statues where the halves were joined with the same paste material. Excess material was removed with a sharp knife. One statue exhibited fine workmanship, while remnants of the joins were visible in the other three statues to the naked eye.

* XRF Analysis: The statues were created from faience paste cast in open molds. After the paste set, it was removed from the mold and fired in a kiln at temperatures ranging from 900 to 1000 degrees Celsius for up to five hours to completely evaporate the water. Analysis of samples from the statues revealed that three of them were composed of silica derived from ground quartz, while one statue contained quartz with small amounts of silica from sand. Additionally, the first three statues included alkaline substances, specifically "natron," while the remaining statue had traces of "plant ash." All four samples contained small amounts of lime. The internal core of two statues, with removed glaze layers, appeared white with a grayish tint. The glaze layer on the other three statues was composed of calcium and sodium silicates, while one statue revealed copper oxides that produced a blue-green color. The analysis confirmed that the four statues contained 90% silica, with the remaining percentage made up of alkaline substances and oxides, including lime at 1-5% and soda at 5%.

These findings date the four statues to the New Kingdom period around 1500 BCE, when cobalt was used to achieve the turquoise blue color, a technique well-known during this era.

Keywords: Faience – Open Casting – Silica – Glaze Layer – Ushabti.

Speakers

Mohamed Darwish

Mustafa Hafez

Authors

Mohamed Darwish

Mohamed Ragab

Conservator, The Grand Egyptian Museum

Mustafa Hafez

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

The Application of Forensic Imaging Technology to the Field of Cultural Heritage using the Crime-lite® AUTO

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The Crime-lite® AUTO (Crime-lite) is a full-spectrum forensic imaging camera developed by Foster + Freeman Ltd. for crime scene investigations. The Crime-lite captures images between 350 – 1000 nm using repeatable parameters with nine internal LED illumination sources (ultraviolet 365 nm, infrared 860 nm, visible light, and six color-specific visible light wavelengths) and nine internal filters (365, 415, 530 nm bandpass; 420, 455, 495, 550, 590, 780 nm longpass). The illumination sources and filters are controllable by a touchscreen interface to create 55 combinations. The Barbara Goldsmith Conservation & Preservation Department at New York University Libraries purchased the Crime-lite to fill a need for efficient and repeatable non-visible light image capture by non-imaging specialists.

We explored the Crime-lite’s capability to create multi-band images (MBI) typically used in the cultural heritage field by producing MBI sets using three setups: 1) the Crime-lite with internal illumination sources and internal filters; 2) the Crime-lite with external illumination sources and internal filters; and 3) a modified DSL (Canon Rebel XSI) with external illumination sources and external filters. Each MBI set consisted of six images (Visible light image (VIS), Ultraviolet-induced visible fluorescence image (UVF), Ultraviolet-reflected image (UVR), Infrared-reflected image (IRR), False color UV image (FCUV), and False color IR image (FCIR)) of the same commercial standard imaging targets and a mock-up of blue pigments and drawing media. The same external illumination sources were used with the Crime-lite and modified DSLR for image sets 2 and 3 to facilitate comparison. However, the filters were specific to each camera; the Crime-lite’s internal filters and five external filters (X-Nite CC1, X-Nite 330 C, X-Nite 850, Peca 918, Tiffen 2e) added to the lens of the modified DSLR.

When operated with internal and external illumination sources we found the Crime-lite produced comparable MBI sets to the modified DSLR. Additionally, we easily captured visible-induced infrared luminescence (VIL) images to detect Egyptian blue, as well as color contrast images, using the internal illumination and filters of the Crime-lite; two imaging types we could not capture with the modified DSLR and illumination sources we had available for the study. The largest difference we observed between MBI sets captured by the Crime-Lite and modified DSLR was when we compared images across cameras, however, both cameras produced usable reference images. Images captured with the Crime-lite have associated metadata recording illumination, filter, and camera settings which is a benefit to the user when documenting their imaging parameters.

Key advantages of the Crime-lite are its efficiency, portability, ease of use, high image quality, and repeatable parameters for image capture. The user-friendly interface and the integrated controls for both illumination and filter changes allow for the capture of common MBIs used in the cultural heritage field (VIS, UVF, UVR, IRR, VIL) in under ten minutes with minimal training for the user. This makes the Crime-lite a pragmatic alternative to the typical modified DSLR MBI capture workflow and a welcome addition to our documentation tools.

Speakers

Minyoung Kim

Graduate Fellow (Class of 2027), New York University Libraries

Minyoung Kim is a second-year student at the Conservation Center, Institute of Fine Arts, NYU, specializing in paper conservation. She holds dual Bachelor's degrees in psychology and studio art, with a concentration in printmaking, from the State University of New York at Oneonta... Read More →

Lindsey Tyne

Authors

Jessica Pace

Lindsey Tyne

Minyoung Kim

Graduate Fellow (Class of 2027), New York University Libraries

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

The challenging conservation of Quinquela Martín's Celotex murals at school N°9, La Boca, Buenos Aires, Argentina.

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Benito Quinquela Martín, one of Argentina's most iconic painters, left an everlasting influence on his hometown of La Boca through his public paintings. Among his most significant contributions are the 13 oil murals painted on Celotex® panels that have adorned Escuela N° 9 since 1936. In these pieces the artist intended to capture with his distinctive colors, the working-class life of the La Boca port, building a bridge between everyday life and art for the students of this school.

Over time, the murals have suffered significant deterioration due to environmental factors, structural issues. The conservation team of the TAREA Center of the National University of San Martín has started a conservation program for these murals, by adopting an interdisciplinary approach, studing Quinquela Martín's contemporary artistic technique (oil, wax and resin on Celotex®) to find the best intervention solutions that respect both the message and the materiality.

The project faces important challenges, as the structural and circumstantial problems of the school complicate long-term conservation. The placement of these pieces in an educational space requires creative strategies for the implementation of preventive conservation practices and policies.

To date, five murals have been treated, each presenting unique dares, as the conservation issues vary considerably among them. Celotex®, being a highly hygroscopic cellulosic agglomerate, has proven unsuitable for the long-term preservation of these pieces. The environmental conditions in the classroom, such as light, humidity and temperature fluctuations, are adjusted to the students comfort, rather than for the conservation of the murals, accelerating the deterioration of the paintings. This situation is compounded by the inadequate interventions they have undergone in the past.

This neglect over the years has contributed to a loss of value in these murals, both from a historical-cultural and aesthetic perspective. However, the current restoration aims not only to preserve the paintings but also to recover the emotional connection and heritage value they represent for the La Boca community, and particularly for the students of Escuela N° 9.

Speakers

Luciana Andrea Feld

Specialist, Centro Tarea, Universidad de San Martin

Luciana Andrea Feld is a painting conservator, researcher, and professor at Centro TAREA, Escuela de Arte y Patrimonio, Universidad Nacional de San Martin, Buenos Aires, Argentina. She has a Bachelor degree in Conservation and Restoration of Cultural Heritage from the Universidad... Read More →

Authors

Judith Fothy

Luciana Andrea Feld

Specialist, Centro Tarea, Universidad de San Martin

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

The Effectiveness of Carbopol Gel in Cleaning Cinnabar Wax Stains from Coptic Icons: An Experimental Approach

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This paper aims to Study the deteriorating effect of beeswax as a hydrophobic material on cinnabar and its cleaning methods from the surfaces of icons, Consequently, three different cleaning techniques were employed: one conventional mechanical technique and the second used a solution of toluene, xylene, and white spirit solution by a cotton swap in a circular motion until the cleaning process was finished, and the other involved solvent gel. An experimental study was conducted, in which beeswax was applied to cinnabar wooden samples as well as thermal and UV aging were performed.

To Evaluate the effective removal methods of beeswax stains, several scientific and analytical techniques were applied including (UVL), optical microscopy (OM), Scanning Electron Microscope (SEM) colorimetric measurements, X-ray fluorescence spectroscopy (XRF), and Fourier transform infrared spectroscopy (ATR-FTIR). The results of examinations and analyses indicate that the use of Mechanical and Chemical systems effects was weak, compared to Carbopol gel, which was highly effective at removing beeswax without affecting the color of the cinnabar.

Keywords: Cleaning, Cinnabar, Solvent gel, Beeswax, UVL, FTIR, Aging, Stains.

Speakers

Amany Kaiser

Conservator, Grand Egyptian Museum

Authors

Amany Kaiser

Conservator, Grand Egyptian Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

The Love Collection of Chinese Wall Paintings

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This study examines the provenance, iconography, stylistic characteristics, and scientific analysis of a group of Chinese mural fragments, focusing particularly on a mural housed at the Wadsworth Atheneum Museum of Art. Between 1951 and 1956, Ruxton Love Jr. donated 12 similar murals to 10 different museums across the United States. Although these murals lacked any documented background or provenance information at the time of donation, Love believed them to be from the Ming Dynasty (1368–1644).

The research includes an analysis of the iconography and artistic style of all 12 murals, revealing shared characteristics that suggest the same group of artists created them. These murals depict Daoist deities such as Houtu Shengmu, celestial musicians, and other divine figures, consistent with the artistic and religious traditions of Ming Dynasty China. Stylistic elements, such as rounded, chubby-faced figures, further support the connection to Ming-era murals from Shanxi and Henan provinces. Additionally, the raised plaster ornamentation found on several of these murals is characteristic of temple murals from this period.

However, scientific analysis was only conducted on the Wadsworth Atheneum mural (1951.230), utilizing X-ray fluorescence (XRF) to examine its pigments. While traditional pigments like barium sulfate and carbon black were identified, the presence of modern pigments such as chrome yellow suggests that these murals were more likely created during the late Qing Dynasty (1644–1912) rather than the Ming Dynasty as initially believed. This finding challenges the initial assumptions regarding the murals' origins and suggests they were produced using traditional techniques but with more modern materials.

Microscopic examination of the murals' structural composition revealed the use of the Chinese secco fresco method, involving the application of pigments to a dry clay plaster reinforced with plant fibers. This method, distinct from the European wet fresco technique, underscores the unique material practices of Chinese mural artists.

In conclusion, while the murals in the Love Collection exhibit strong stylistic connections to Ming Dynasty works, the presence of modern pigments points to their creation during the late Qing Dynasty. This study demonstrates the importance of combining iconographic, stylistic, and scientific analyses in accurately determining the date and authenticity of cultural heritage objects.

By integrating these various approaches, the study contributes to a deeper understanding of the Love Collection and its historical and cultural significance, offering new insights into the broader context of Chinese art. Future research will further explore these murals and related works to clarify their origins and influence.

Speakers

Donglin Chen

Student, University of Pennsylvania

Donglin Chen is a graduate student at the University of Pennsylvania, pursuing a Master of Science in Historic Preservation. Donglin holds a Bachelor of Science in Chemistry and Art History from Trinity College, where they cultivated a deep interest in the intersection of art, science... Read More →

Henry DePhillips

Alden Gordon

Authors

Alden Gordon

Donglin Chen

Student, University of Pennsylvania

Henry DePhillips

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

The Mysterious Flecto: Investigating a Historic Treatment Material

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Conservators at the Virginia Museum of Fine Arts (VMFA) recently came across a mysterious treatment material referred to as “Flecto” while they were re-treating a number of enameled jewelry and decorative arts objects in the collection. This material was used at the VMFA most frequently as a tinted fill material on damaged enamelwork. A search of the conservation literature returned almost no references to Flecto, which is the name of a company that produced paints, wood finishes, and floor coating systems until they were purchased in 1998 by Rust-oleum. Fortunately, a photocopy of an original product label was present in one of the object folders, revealing the full product name to be “Flecto Seamless Clear Plastic,” an acrylic resin in xylene. As a substantial amount of decanted “Flecto” remains in the lab’s chemical storage, additional analysis and accelerated aging tests were carried out to more fully characterize the material and its aging properties and to determine the potential long-term effects on the objects treated. A survey was also sent out to the conservation community in order to gauge how frequently and in what contexts this product has been used in the conservation field. We hope the results of this study will prove useful to other conservators and museum professionals who come across this historic conservation material.

Speakers

Ainslie Harrison

Head of Sculpture and Decorative Arts Conservation, Virginia Museum of Fine Arts

Ainslie Harrison is Senior Objects Conservator and Head of Sculpture and Decorative Arts Conservation at the Virginia Museum of Fine Arts where she has worked since 2016.

Authors

Ainslie Harrison

Head of Sculpture and Decorative Arts Conservation, Virginia Museum of Fine Arts

Ainslie Harrison is Senior Objects Conservator and Head of Sculpture and Decorative Arts Conservation at the Virginia Museum of Fine Arts where she has worked since 2016.

Jennifer Bridges

Leila Sabouni

Lindsay Cross

Skyler Jenkins

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

The Mystery Behind the Anonymous Saqqara Pyramidion

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

What is the story behind the mysterious Egyptian Museum pyramidion? The lack of information about this object has attracted the attention of a team of archaeological and conservation specialists at the Grand Egyptian Museum. Where did it come from? Why was it made? How has this mystery been solved, and what secrets have been revealed?

The pyramidion was usually used as a capstone for the upper section of obelisks or pyramids in ancient times, or as gravestones in the Middle and New Kingdoms.

The materials used to construct the pyramidion varied from limestone to basalt, granite, or sandstone, and were sometimes covered with brass panels or gold, which were often inscribed with the deceased's nickname and his gods according to ancient Egyptian beliefs because The ancient Egyptians believed in resurrection and immortality in the afterlife, so they wrote their names so that the gods could recognize them.

The interest in the pyramidion, which bears the number (CG 48841) in the records of the Egyptian Museum, has increased. By searching for it in published records, it was noticed that the information about it was missing without reason. The only information found in the old paper records is that it is from Saqqara.

Saqqara village is one of the villages of the Badrashin Centre in Giza Governorate in Egypt. It contains ancient Egyptian royal cemeteries from Egypt's ancient capital, Memphis. It also contains a number of pyramids, including the Step Pyramid of Djoser of the Third Egyptian Dynasty, which is the oldest historically complete stone construction, as well as a number of artifacts.

Back to the Unknown Pyramidion, the faces of the inscriptions are unclear due to surface defacements caused by environmental deterioration factors. Perhaps that's the reason for the lack of information about it. The objective of the pyramidion's manufacturing remains unrevealed; hence, the journey to uncover the secrets of this pyramidion has been successfully established cooperatively between the mural paintings and stone lab conservation team and the archaeological team of the GEM-CC to help read the inscriptions and decipher them after the conservation process. It was found that the purpose of this pyramidion is to be used as a funeral gravestone. This poster includes photos and an AutoCAD drawing to illustrate the conservation procedure.

Speakers

Amira Abd El-Hakim

Authors

Al-Shimaa Ali

Amira Abd El-Hakim

Hadeel Khalil

conservator at the special project lab, conservation center, The Grand Egyptian Museum

Hanaa Ibrahim

Hussien Kamal

Rasha Kamal

Conservator, Grand Egyptian Museum

Sally Mohamed

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

The nanotechnology technique and its use in cleaning and consolidating the mural paintings

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The nanotechnology technique and its use in cleaning and consolidating the mural paintings :

Abstract:

The stone antiquities represent the largest percentage of the total antiquities found in Egypt which are represented by tombs , temples , pyramids , statues, and others and the inscriptions writings and mural paintings they carry of great importance therefore it is necessary to study them well in terms of knowing the type of stones , their nature , the wall pictures found in them and their components studying the factors and manifestations of damage affecting them , and the best modern methods that can be used in their restoration in order to achieve the best results to preserve this important and rare world heritage . in this research we will discuss the latest of these methods, which is the use ofnanotechnology in restoration which is one of the latest technologies used recently in various fields and then in restoration due to its extreme accuracy and because it is safer . we will discuss its application and show its results on some very important and distinctive wall painting that were found in the tomb ( KV20 ) of Hatshepsut and the tomb ( KV38 ) of Tuhuthmosis II . they date back to the early era of the 18th dynasty which represents the first and primary source for the book ( Amy-Dawat ) which is theoldest royal book regardingthe other world .

Keywords: nanotechnology ,consolidation, Amy dawat ,mural paintings

Speakers

Meriette Azmy

The Egyptian museum

I have graduated from faculty of archaeology-Cairo university-2005. I have worked as arestorator at Arab contractor company for 5 years till 2010 in many projects for restoration such as ( restoring the mosque of shaikho 1and shaikho 2 in Cairo - restoring the mosque of prince hassan... Read More →

Authors

Meriette Azmy

The Egyptian museum

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

The preservation of Benito Quinquela Martín’s murals in a state elementary school

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

In the historic district of La Boca, Buenos Aires, Argentina ,15 murals by the renowned artist Benito Quinquela Martín are preserved at Escuela N° 9 Pedro de Mendoza. Quinquela, a native of this working-class neighborhood, sought to enrich the educational experience of children from humble backgrounds by integrating art into their daily lives. His murals, characterized by their vibrant depictions of local culture, labor, and community life, reflect a deep commitment promoting a sense of identity and belonging among students.

The significance of these murals extends beyond their artistic value; they serve as a cultural reference point for the school and the surrounding community. When Quinquela created these pieces, his intention was to inspire pride and commitment in the students, encouraging them to view art as an integral part of their environment. This vision remains relevant today, as the murals continue to resonate with students, fostering a connection to their heritage and encouraging a sense of belonging to their cultural identity.

Nevertheless, the deterioration of these murals over time has triggered concerns regarding their preservation. In light of the significance of these murals as both artistic expressions and integral components of the school's identity, a restoration project initiated in 2019. This project was possible through collaboration between the Buenos Aires Education Ministry and the Centro TAREA, Universidad Nacional de San Martín.

The aim of the restoration process extends beyond the conservation of the physical artworks; it also seeks to stimulate renewed interest and appreciation for cultural heritage within the school community. The initiative combines the intervention with a comprehensive conservation project and active participation from students, teachers, and school administrators, thereby fostering a deeper connection with the school's cultural legacy. The murals function as a unifying element, bridging the past and the present, functioning as a conduit between the past and the present, offering students a sensitive understanding of their identities and histories. It is of critical importance to acknowledge the value and significance of these paintings and advocate for their conservation.

The project places particular emphasis on the role of education as a central axis of the intervention. It also incorporates the participation of both advanced students from the conservation and restoration degree at UNSAM and interns from the specialization. The murals are a subject of ongoing research and discussion among students engaged in thesis work, providing a venue for professional practice and a space for debate and reflection among peers.

In essence, the murals created by Benito Quinquela Martín at Escuela N° 9 Pedro de Mendoza serve as a crucial intersection between the arts, education, and community engagement. The preservation of these artistic and cultural assets is crucial for the maintenance of Quinquela's artistic legacy and for the empowerment of future generations to appreciate and engage with their cultural heritage. The joint effort between the educational authorities and public institutions serves to illustrate the potential of community-driven initiatives to foster a sens of pride and identity in the heart of La Boca.

This case study highlights the importance of collaboration between different institutions: the Ministry of Education of Buenos Aires, as the client; the TAREA Center at the National University of San Martín, responsible for the restoration; and Escuela N° 9, which houses these invaluable cultural art works.

Speakers

Luciana Andrea Feld

Specialist, Centro Tarea, Universidad de San Martin

Authors

Judith Fothy

Luciana Andrea Feld

Specialist, Centro Tarea, Universidad de San Martin

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

The Restoration of Mummies in Ancient Egypt

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The human deterioration factor plays a major role in the mummies' deterioration, and it is no less important than other deterioration factors, whether in the burial environment or the exposure environment in museums or stores. Looting is considered one of the most serious human deterioration factors, which led to the destruction of some mummies during the different periods in ancient Egypt. This study aims to explain the impact of human deterioration on mummies, describe its aspects of deterioration, and present the ancient Egyptian restoration and conservation techniques and materials used through different periods. The ancient Egyptians used different methods in restoring mummies, especially in the reassembling process of separated or broken parts. Examples of reassembling methods used were wooden splints such as palm wood splints, palm bark, reed sticks, fibres from palm trees, and wooden pegs. The resin technique and linen with resins were also used. The materials used in the restoration process were resins and oils such as mastic, myrrh, and beeswax. Different plant fibers such as wood, linen, palm fibres, reed, etc. The metal "iron" was also used in this process. This study showed that the ancient Egyptians are considered the pioneers of restoration in the world, and they preceded others in this field. It was also found that most of the materials used in the restoration are resistant to microorganisms and insects, and improve the mechanical properties of mummies.

Speakers

Gomaa Abdel-Maksoud

Mostafa Ismail

Head of Mummy Lab, National Museum of Egyptian Civilization (NMEC)

Director of Mummies storage, and Head of Mummies Conservation lab in the National Museum of Egyptian Civilization” (NMEC) - From 2011 till now • Head of the team who was responsible for planning, studding, documenting, conserving, packing and exhibiting of 22 Royal Mummies which... Read More →

Authors

Gomaa Abdel-Maksoud

Mostafa Ismail

Head of Mummy Lab, National Museum of Egyptian Civilization (NMEC)

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

The sculpture that incited a campus riot: conserving the Iron Horse as an object and a story

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The Iron Horse, a 12-foot tall fabricated steel abstract sculpture created by Abbot Pattison in 1954 during a residency at the University of Georgia, has looked out over the agricultural fields 30 minutes south of Athens, Georgia for 65 years. It is a beloved landmark for rural, artistic and collegiate communities alike. The serenity and perfect incongruity of this very modern sculpture in the midst of active farmland belie its controversial and tumultuous beginning and the persistent vandalism and deterioration, and disputes over responsibility for its care, in the decades since.

The enduring story of the Iron Horse is this: It was sited in a UGA dormitory quad on the afternoon of May 25, 1954, and within hours was the subject of escalating vandalism turned riot. The crowd of hundreds put hay in its mouth, dung under its tail, and graffitied it, mocking its abstract form. Tires and dorm mattresses were set fire beneath it repeatedly, requiring two visits by the fire department, the last of which involved turning the firehoses onto the chanting throng. Amid rumors that the vandals meant to return the next day with dynamite and acetylene torches, the administration had it removed from campus and hidden after less than 24 hours on view. Four years later, with the permission of the director of the school of art, the sculpture was moved to a horticulture professor’s farm twenty miles south of campus, where it has stood ever since. Over the decades, efforts by its supporters in the university community to return it to campus have been countered with appeals by the professor’s family and rural communities who came to claim it as their own. Its story is most often told as an allegory of the violent response of the ignorant when faced with novelty, difference and progress, and how such resistance softens and shifts with time.

In 2023-24, the University finally regained ownership of the Iron Horse and sought its conservation. The sculpture was extremely degraded with severe corrosion and metal loss. Cracks and open weld joints were visible throughout. Deeply scratched graffiti covered the sculpture’s surface, and numerous sculptural elements were missing entirely. Though it was repainted periodically over the years, it was never done properly and corrosion continued to develop from water ingress, the countless marks, and the clambering of admirers.

The Iron Horse required an unusually intensive intervention in order to regain its substantially undermined original form and to provide for its long-term preservation. This level of intervention, in which large sections would effectively be rebuilt and sculptural elements restored, necessitated a collaboration of advocacy, expertise and material understanding in multiple fields that is exceptional in typical sculpture conservation practice. The committed collaboration of conservator, metalworker, art administration professional, archivist, and more made the restoration of this amazing artwork possible when its survival was otherwise at risk.

Speakers

Amy Jones Abbe

Conservator of Objects and Sculpture, Jones Abbe Art Conservation LLC

Amy Jones Abbe is a sculpture and objects conservator based in Athens, Georgia, and provides conservation services to institutions and collectors throughout the Southeast. She conserves artworks in a wide range materials in addition to providing collections assessments, collections... Read More →

Donald Cope

Authors

Amy Jones Abbe

Conservator of Objects and Sculpture, Jones Abbe Art Conservation LLC

Donald Cope

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

The textile Hypocephalus from Sheikh abd el-Qurna, in TT 32: Scientific Analysis and Conservation Strategy

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The papers objective is to present the strategies of scientific investigations, preservation and conservation carried out to the textiles hypocephalus discovered in Sheikh abd el-Qurna, in TT32, dating back to the early Ptolemaic period, the third century BC. The term hypocephalus a Greek word interpreted as "what is under the head, refers to a piece of Late Period and Ptolemaic funerary equipment. It is preserved in the storeroom of the Egyptian Textile Museum in Cairo, Egypt. The process of treatment has assisted in set the strategies of conservation procedures of this textile object. Firstly, the text and iconography on hypocephalus were documented using Auto CAD, secondly, a combined set of multi-analytical methods is used to identify and examine the materials and methods used in the manufacturing of this object, assessing its preservation condition. Methods employed include: portable digital microscope, using a digital microscope 350X and 1000X to identify the fabric characteristics of object, mapping of deteriorated, the manufacturing of this textile object, assessing its condition, Finally, explain strategies of conservation processes; cleaning processes, consolidated the deteriorated linen textiles hypocephalus,was treated and supported on silk crepeline that was used to consolidate the piece preparing to redisplay in the museum.

Speakers

Youssef Elreweny

Student, Ain Shams University

Authors

Youssef Elreweny

Student, Ain Shams University

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

The Value of Rejection: Embracing Discarded Materials - Assessing the Potential of In-House Cellulose Nanofibers in Paper Conservation

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Pursuing environmental sustainability has been a continuous consensus in the museum sector since the 21st century. In line with this, our museum has sought to apply bio-based materials developed by academia in conservation work. In this case, the collaborating unit is the College of Agriculture at National Chiayi University in Taiwan, which has utilized the TEMPO method to produce cellulose nanofibers (CNFs) from pineapple leaves and bamboo stems. These plants, commonly used in East Asian papermaking, offer high compatibility with paper and are characterized by their rapid growth, wide distribution, and low cost in Taiwan's subtropical climate. If developed under conditions that prevent raw material depletion and reduce the carbon footprint, they could have significant potential for growth. This study evaluates the effectiveness of these CNFs in reinforcing paper structures during university students' internships at the museum and assesses their stability for conservation purposes.

To standardize the testing process, this study used an airbrush to evenly apply a 1% CNF solution onto filter paper and deteriorated paper, followed by a two-phase testing procedure. The first phase involved testing different numbers of spray applications (1-3 times) to assess the impact of the number of applications on paper properties. In the second phase, the most effective number of spray applications from the first phase (3 times) was used to compare the reinforcement effects of the in-house CNFs with a commercially available product, evaluating their competitiveness and potential for substitution. The completed spray samples underwent analysis of physical, chemical, optical, and structural properties, including color difference, whiteness, glossiness, pH, folding endurance, tensile strength, basis weight, contact angle, FTIR, and SEM. Additionally, the durability of the in-house CNFs was evaluated after aging.

The current test results indicate that the in-house CNFs effectively penetrate the paper structure and strengthen its physical properties. The optical properties show minimal changes in paper color, which aligns with the needs of paper conservation. However, compared to a commercially available, well-developed CNF product, there is still room for improvement. A 1% concentration of in-house CNFs achieves effects similar to those of a commercially available product with just a 0.06% concentration due to differences in refinement and manufacturing methods.

Throughout the research process, we observed the feasibility of academia-industry-government collaboration. With industry cooperation, the university could obtain agricultural waste (pineapple leaves) and bamboo from local farmers near the campus at no cost. In the educational process, students from the College of Agriculture were able to engage directly with the plants through harvesting, gaining a closer understanding of plant characteristics and exploring applications for CNF development in their coursework. The museum's involvement has created practical demand, allowing the teaching materials and products from the course to be put into practice and refined. Looking forward, we hope that further testing and improvement by both the university and the museum—key aspects of our research—will enable these potentially valuable waste resources to be effectively reused under environmentally friendly conditions to develop higher-value applications while encouraging future collaboration and development in the field.

Speakers

Hsuan-Yu Chen

Conservator, National Museum of Taiwan Literature

Hsuan-Yu Chen is a conservator working at the National Museum of Taiwan Literature (NMTL). He received his MA degree in paper conservation from Tainan National University of the Arts, Taiwan. Tracing his work experience, Hsuan-Yu was an intern at the Harry Ransom Center in Texas and... Read More →

Tsang-Chyi Shiah

Authors

Hsuan-Yu Chen

Conservator, National Museum of Taiwan Literature

Tsang-Chyi Shiah

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Thutmose III Mummy Shroud from Storage to Display: Challenges and Collaborative Insights into Preservation and Exhibition

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This study presents a collaborative, multidisciplinary approach to conserving and displaying the high-quality linen Shroud of Thutmose III, which bears a rare section of the Book of the Dead. Traditionally, these texts were written on papyrus, but in this case, they were written on fine linen fabric, dating back to 1450 BC. The shroud will be displayed for the first time at the Grand Egyptian Museum-Conservation Center (GEM-CC) collection, which requires an innovative conservation approach in preparation for its first public display since its discovery. Upon arrival at the GEM-CC, the conservation team faced several challenges. It was attached to old, acidic cardboard, and its large size (4.5 m) made it difficult for conservation and display efforts. These challenges necessitated the development of a conservation strategy for the shroud using the principle of least invasive treatments, drawing on multidisciplinary expertise in conservation and scientific research. Using non-destructive techniques such as multispectral imaging, optical microscopy, X-ray fluorescence, and FTIR, the team could comprehensively assess the properties of the fabric, pigments, and overall condition of the shroud. The results revealed that the manufacturer used yellow Orpiment and Egyptian blue pigments in the upper decorative frame for the writing, and carbon black ink was used for the inscriptions. The analyses also revealed that the old cardboard backing and adhesive used had caused damage to the fabric, resulting in discolouration and darkening of the fabric. These scientific analyses informed key decisions in the conservation process, ensuring the careful removal of the acid support and reinforcement fragile parts. The conservation team also designed a customized and secure textile mount for the shroud’s large dimensions. The innovative use of non-invasive techniques, combined with specially designed and multidisciplinary solutions, ensures the long-term preservation of this unique artefact and its proper display and beauty in the exhibition at the Grand Egyptian Museum. The study highlights the combination of scientific progress and expertise in the field of heritage conservation, demonstrating the power of collaboration in overcoming the complex challenges of studying, conserving, and exhibiting ancient textiles.

Speakers

Sarah Ismail

Enas Mohamed

Senior Conservator, Grand Egyptian Museum

A senior conservator with over 13 years of experience in preserving organic materials. At the Grand Egyptian Museum, I focus on conserving significant artefacts, particularly textiles and manuscripts. I hold a Bachelor's degree in Conservation of Antiquities, a Diploma in Conservation... Read More →

Authors

Enas Mohamed

Senior Conservator, Grand Egyptian Museum

Hend Yassin

Hussein M. Kamal

Menna Allah Mohamed

Safwat Mohamed

Sarah Ismail

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Timing is Everything: Optimal Measuring Time for Neon Color and Brightness

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Gas discharge lamps or “neon” objects are a significant part of modern visual culture. Since the 1920s, stemming from signage and advertising, they initially populated urban landscapes to make their way into the art world shortly thereafter. Made by hand, neon units’ production requires highly skilled artisans, and their lifetime is typically limited to several decades, meaning their replacement is integral to the conservation of artworks containing them. Though this technology is present in art collections worldwide, literature regarding its conservation and care remains scarce.

The color and brightness of neon shifts gradually over time. The exact rate of this aging depends on many factors, including the length and diameter of tubes, the kind of gas they contain, and whether the tubes are continuously or occasionally activated. This propensity to change over time, combined with the fact that neon units require color-matched replacement when they break or reach their end of life, makes color and brightness measurement a valuable tool for documentation. The noble gases used in neon lamps have full outer electron shells, which make them chemically inert and create a distinctive colored light when ionized by the high voltage that passes through them when activated. However, ionization of the gas takes a period of time to reach a consistent color and brightness; these two values initially shift to varying degrees when a neon unit is turned on. To reliably document these qualities, one first needs to know the point when that variance diminishes.

The goal of this study is to better understand how long a neon unit should remain on to minimize variations in color and irradiance of the two most common gas combinations used in neon production: neon (Ne) and the argon with mercury (Ag-Hg). We look at the warmup times for four units with two gas and phosphor variations in commonly used tubes (10mm, lead free, colorless glass): an uncoated tube with Ne, an uncoated tube with Ag-Hg, a phosphor-coated tube with Ne, and a phosphor-coated tube with Ag-Hg. Clusters of measurements were taken at regular time intervals with the Gigahertz-Optik MSC15 Spectrometer. We compared trends in averages and standard deviations for irradiance and colorimetry values, as well as spectral power distributions to establish whether variance reliably decreases over time to a value that is below what is perceptible to the human eye, or the just noticeable difference (JND).

This poster summarizes our findings for these test units, as well as historic neon objects, and proposes recommendations for assessing the warmup time of neon artworks. The study is a continuation of a research project on the care of neon-based artworks undertaken at the Getty Conservation Institute, whose initial outcomes were presented during the 51st AIC annual meeting.

Speakers

Bogna Skwara

Graduate Intern, Getty Conservation Institute

Bogna Skwara is a conservator specializing in collection care and contemporary art conservation. She is a 2024-2025 Graduate Intern at the Getty Conservation Institute (GCI) within the Modern and Contemporary Art Research Initiative (ModCon). Since 2021, she has been working at The... Read More →

Authors

Bogna Skwara

Graduate Intern, Getty Conservation Institute

Ellen Moody

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Together we rise: Introducing high school students to the conservation and museum fields through the Summer RISE program

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Since 2019, Glenstone Museum, in Potomac, Maryland, has been actively involved in Summer RISE, an annual summer program organized by Montgomery County Public Schools’ (MCPS) Department of Partnerships. Summer RISE, which stands for “Reimagining an Innovative Student Experience,” offers rising high school juniors and seniors the opportunity to gain real work experience through placements with participating companies and institutions throughout the region. Over the course of four weeks in July, students work for 50 or more hours in their placement and are paid for their work at the conclusion of the program.

Glenstone’s Conservation Department has been a key supporter of this program since the beginning of Glenstone’s involvement. With help from Glenstone’s Community Engagement Department, which organizes the program on the internal institutional level, Conservation has taken at least one high school student each year. Conservation plans a variety of activities with the students in order to provide a well-rounded introduction to the field. This often includes an introductory presentation on the field of conservation, hands-on washing of outdoor sculpture, practice doing condition assessments, carrying out simple mock-treatments, and color-matching activities. Glenstone’s students, which are placed by RISE coordinators based on their stated interests, often have an interest in art but may not have heard of conservation before. By the end of July, students leave with a basic understanding of conservation and are better informed on museum careers in general as they begin to plan for college and life after high school. In one successful example, a former alumna of the program even reached out for guidance on pre-program conservation internships and education pathways after her interest in conservation was sparked at Glenstone.

Supporting the program has not come without occasional difficulties, however, and in the spirit of continuous improvement, certain aspects have been modified over the years. For example, as a small team of busy conservators, it has proven complicated to organize the oversight needed for multiple high school students throughout the summer. Conservation now collaborates with its fellow departments by sharing a slightly larger group of three or more students among the entire Collections Division. In doing so, we have been able to more evenly distribute the internal responsibilities. Although the students spend less time with Conservation, we are now able to take a larger group and broaden their experiences to include adjacent activities in Registration, Curatorial, Library, and Archives. Other challenges, such as varying degrees of student interest and scheduling conflicts are dealt with in stride and are an anticipated part of the program. In all, Summer RISE has proven to be a great success at Glenstone and has strengthened our relationship with community partners such as MCPS. Through this mode of outreach, we are able to share the field of conservation with eager students, spark interest where there may have been none before, and allow for them to experience first-hand the possibilities of working in the museum field.

Speakers

Austin Anderson

Authors

Austin Anderson

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Treating Jewish Objects: A Guide to Kosher Gelatin

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Kashrut is a set of dietary laws concerning with the foods that Jewish people are permitted to eat and how those foods must be prepared according to Jewish law. When treating Jewish objects, especially those used for traditional ritual, one must consider the sources of conservation materials to respect the standards of kashrut. Although treatment materials are not intended for consumption, this process and understanding is essential to respecting Jewish culture in tandem with conservation treatments.

Plant-based materials are always kosher, fit for consumption or use. Additional concerns arise when considering animal-based products, as these are much more restricted under the laws of kashrut. In particular, gelatin is a common conservation material in almost all specialties. It is a versatile material and can be used as an adhesive, consolidant, or sizing. As an animal derived product, it is essential to understand the sources and preparation of the gelatin to ensure it complies with the laws of kashrut.

This poster will introduce conservators to the framework of the laws and contemporary practice of kashrut with the intention that they may reference and consider it in the process of choosing materials for treatment.

Speakers

Margalit Schindler

Principal Conservator, Pearl Preservation, LLC.

Margalit Schindler (they/them) is Principal Conservator at Pearl Preservation LLC, a preventive conservation consultation and services firm. Pearl Preservation is guided by material science, sustainable preservation practice, and ethical decision making to support and steward collections... Read More →

Authors

Margalit Schindler

Principal Conservator, Pearl Preservation, LLC.

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Treatment of a Chinese Porcelain Vase with European Figures

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

In 2020 the Art Institute of Chicago’s Applied Arts of Europe and Arts of Asia departments jointly acquired a rare porcelain vase with two European figures on it, made in China in the second half of the 18th century, during the reign of emperor Qianlong. Originally thought to be intended for export to Europe, curatorial research found that it was produced for the Chinese imperial market, and that a matching mirrored version exists at the Museu Medeiros e Almeida in Portugal. The vase is constructed with a hole in the bottom, so it is not functional. When purchased, it had a variety of old deteriorating restorations as well as unfilled losses. Both figures’ hats were heavily restored, with the extent of original material below the lumpy restoration unclear. A face, hair, and fingers also had fills. Most notably, only one of the figures’ four original feet remained. Two other feet were noticeable, deteriorating replicas, and the fourth was missing completely.

When treatment was undertaken, interesting details of the past restoration techniques and original techniques of manufacture were revealed. The restoration materials included unusual red low fire ceramic fills attached using threaded rods, paper left behind to contain plaster during the past restoration, and a black resinous material that was confirmed by analysis to be shellac-based. Old misaligned joins were disassembled, which revealed manufacture details on the inside of the head of one figure that would never have been visible except during treatment. The hats were formed separately and applied to the heads – a bead of slip is visible at the join.

The fills on the face were discovered to have been covering firing flaws, which were left unfilled at the end of this treatment as they are original manufacture features. For the losses in the hats, fingers, hair, and single right foot, existing matching elements were used to base the fills on without significant inference. However, since each figure was on one knee, the left and right feet differed significantly in position, and there was no extant left foot on which to base the restorations of the two left feet. Photographs sent by the Museu Medeiros e Almeida of the matching vase in Portugal were referenced, but it was unclear if those feet were also restored. Measurements based on photos of one potentially original matching foot resulted in a foot length significantly longer than the one existing right foot on the Chicago vase. After discussing with the curators and making mockups of multiple foot sizes, the decision was made to base the foot on the single extant right foot on the vase. If it is confirmed eventually that the replica feet are shorter than the original left feet, this can be corrected. The vase is slated to go on view in a major reinstallation of the Art Institute’s Applied Arts of Europe galleries in 2025.

Speakers

Haddon Dine

Assistant Objects Conservator, Art Institute of Chicago

Haddon Dine is an Assistant Objects Conservator at the Art Institute of Chicago. She has an MS in Art Conservation from the Winterthur/University of Delaware Program in Art Conservation, and a BS in Chemistry from the University of Pittsburgh. Haddon has worked or interned at the... Read More →

Authors

Haddon Dine

Assistant Objects Conservator, Art Institute of Chicago

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Turning scattered petals into flowers: The conservation of the botanical collar of king Tutankhamun by an allied team of the Grand Egyptian Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This poster discusses the conservation procedures of a botanical collar of king Tutankhamun which was discovered among the king's collection in 1922. The collar consisted of four rows, the first and second rows consisted of olive leaves and corn flowers. While the third row consisted of willow leaves, corn flowers and petals of Lotus flowers. The fourth row consisted of olive leaves, corn flowers and wild celery leaves. This collar was stored for approximately 100 years in the Egyptian museum in Tahrir and never exhibited before. When it was received in the Grand Egyptian Museum, conservation center, the collar was examined and found suffered from deformation, flowers were scattered inside the cardboard box, high acidity, dryness, infestation and very fragile. The collar was in need for urgent intervention. Therefore, a conjoined team of scientific department and organic materials conservators undertook conservation procedures of the botanical collar. The conservation actions included fumigation, recollecting for flower petals and restoring for the collar shape according to the original pictures of the discovery and records. All petals and collar parts were consolidated by Klucel G and supported when needed by Kozo 3 gm Japanese paper from back side. Beside using natural dyed linen thread for collecting procedure. After finishing conservation actions, the collar was prepared for exhibiting by designing a proper mount made of inert materials won't cause any further deterioration. This poster demonstrates the power of united work and the benefits of knowledge exchange between different scientific field and how it reflected positively on the final conservation results.

Speakers

Hadeel Khalil

conservator at the special project lab, conservation center, The Grand Egyptian Museum

Safwat Mohamed

Authors

Hadeel Khalil

conservator at the special project lab, conservation center, The Grand Egyptian Museum

Hussein Kamal

Safwat Mohamed

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Unveiling the Secrets of a Paper Crucifixion Icon: A Multidisciplinary Investigation of a Paper Crucifixion Icon as Materials, Techniques, and Conservation

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Wadi Al-Natrun is a desert depression located nearly ninety kilometers northwest of Cairo. Wadi Al-Natrun is home to four important Monasteries, all still active: One of these monasteries is the Monastery of St. Macarius (Abu Makar) which houses a vast collection of objects.

And inside this Monastery, there are many icons. Still, there is a unique overlapping paper Crucifixion icon representing the Crucifixion dating back to the 19th Century, painted by So this paper will discuss the Conservation of the overlapping paper Crucifixion icon which was painted by priest Girgis(dating to the 19th Century).

This study aims to evaluate the icon's condition by characterizing its layers and assessing the impact of aging and environmental factors. The goal is to develop conservation solutions. Multispectral Imaging (MSI) was employed not only for the documentation but also to gather data for better characterization of the pigments used. X-ray diffraction (XRD) to determine the crystal structure of the pigments and other inorganic materials. (SEM-EDX) to identify the chemical composition of the paint layer (Carbon black, Orpiment, Cinnabar, Malachite, Lazurite, and White Lead). (FTIR-ATR) was instrumental in characterizing the varnish layer (shellac varnish) and binding the pigments layer (Arabic gum). (OM) used to identify the paper (Cotton Material) and wooden panel (Pinus halepensis).

Microbiological swabs were taken to identify microbial damage to the icon (Aspergillus flavus, Rhizopus oryzae, Aspergillus niger,Trichoderma viride, Cheatomium globosum)

Finally, due to the icon's unstable condition, this article will discuss the conservation process, which includes consolidation, cleaning, filling, retouching, and varnishing.

Keywords: Coptic Icons, SEM/EDX, Pigments, Multispectral Imaging, microbial damage

Speakers

Amany Kaiser

Conservator, Grand Egyptian Museum

Authors

Amany Kaiser

Conservator, Grand Egyptian Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Using diagnostic techniques to restore and displaying of a bronze head of an Apis bull, gold inlay, dating back to the late period.

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

Apis or Hapis is the title of the sacred bulls that were buried in the Serapeum tombs at Saqqara. The Apis bull symbolized fertility and was worshipped in Memphis. The ancient Egyptians considered it the spirit of the god Ptah. Therefore, it was crowned with the solar disk between its horns. Bronze statues of Apis dating back to the Persian rule of Egypt have been found. The bull was selected for its white color with black spots on its forehead, neck, and back.

The bronze head of the Apis bull statue, inlaid with gold, is one of the most prominent examples of artistic and religious development in ancient Egypt. It reflects the craftsmanship and dedication of ancient artisans in embodying religious beliefs. Apis was one of the most important deities in ancient Egypt, symbolizing fertility and prosperity. The object was discovered in Lower Egypt- Governorate of Sharqiya, moved to the Egyptian Museum in Cairo, and recently to the Grand Egyptian Museum- Conservation Center, with accession no. 5716. It dates back to the Late Period.

The condition of the object indicated that it was previous restored, as the neck area was entirely missing. It is in bad condition, with corrosion products of various colors and soil deposits on the surface. Several analyses were conducted using various techniques, which revealed that the previous restoration involved the use of calcium sulfate hydrate (gypsum) mixed with colored oxides to match the artifact's color. This necessitated the removal of the previous restoration, followed by cleaning and conservation, along with selecting the best preservation strategy and an innovative display method for one of the halls in the Grand Egyptian Museum.

Speakers

Shaimaa Hemid

Conservator, The Grand Egyptian Museum

Authors

Mamdouh Ahmed

Ragab Ismail

Seif Eldein Mohammed

Shaimaa Hemid

Conservator, The Grand Egyptian Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Vestiges of Ownership and Provenance: Marcas de Fuego (Firebrands) from The Huntington’s Mexican Incunabula Collection

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The conservation and digitization assessment of the Huntington’s Mexican incunabula collection revealed that a dozen of its fifty-four early Novo-Hispanic publications feature marcas de fuego—distinctive epigraphic or figurative branding iron marks burned by the owning mendicant orders, institutions, or individuals onto the volume’s textblock edges. This practice is theorized to have originated during the mid-sixteenth and seventeenth centuries in present-day Mexico as a method to assert ownership and deter book theft in the Viceroyalty of New Spain –a crime often punishable by excommunication due to the books’ value. Marcas de fuego provide a unique window into the history of book ownership and provenance of viceregal Novo-Hispanic collections as their study contextualizes the fate of libraries following the dissolution and nationalization of conventual and private secular collections in the nineteenth century. To advance the Huntington’s Mexican incunabula scholarship, the conservator established a collaboration with the Catálogo Colectivo de Marcas de Fuego (CCMF), a Mexican initiative dedicated to cataloging and describing firebranded printed Mexican works displaced across the globe, understanding the historical processes affecting Spanish American book histories, and reconstructing fragmented viceregal Novo-Hispanic collections. Research at the Huntington will include the digital imaging of the firebrands using a Nikon D810 camera and image processing in Adobe Lightroom. Following CCMF guidelines, each firebrand will be categorized, and its dimensions will be submitted in millimeters along with high-resolution images of the firebrands, the corresponding volume's title, and its Huntington call number. The images will be compared against the CCMF’s data to determine potential provenance, including institutions, regions, and historical period. Preliminary observations indicate that viceregal Roman Catholic religious orders and academic institutions formerly owned most firebranded Huntington Mexican incunabula. Close examination revealed the later practice of partially removing firebrands during the trimming, edge gilding, and rebinding of volumes into nineteenth and twentieth century book structures. The evidence of provenance erasure suggests that other rebound Mexican incunabula in North American collections might have had their firebrands removed by intentional or common practice rebinding processes that today contribute to the physical loss of historical information. Research in the Huntington’s records, supported by curatorial consultations, confirm that the volumes were acquired between 1911 and 1926 with the existing bookbinding alterations, indicating that they were rebound before Henry Huntington's acquisition from North American collectors. These preliminary observations, combined with institutional research, demonstrate that firebrands provide valuable insights on the migration of Novo-Hispanic early printed works into local and international collections, including the Huntington’s. The research also serves as a model for U.S. cultural heritage institutions to engage with initiatives like the Catálogo Colectivo de Marcas de Fuego (CCMF), emphasizing the value of bilingual scholarship and the need to understand the unique material characteristics of Latin American collections, which often differ from their European counterparts. This project also highlights the importance of international partnerships and underscores the pivotal role conservators play in the detailed examination of global heritage, advocating for in-depth studies and equitable preservation practices for the reconstruction of fragmented cultural histories.

Speakers

Verónica Mercado

Authors

Verónica Mercado

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Virtual Reality in Conservation of Movable Heritage: Theory and Practice.

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

abstract :

Keywords: Conservation, Virtual restoration , database, Movable Heritage, Artifact, 3D Modeling

This proposal aims to study the possibility of using virtual reality technologies in preserving movable heritage to create a virtual experience for unrestored artefacts, as the world is witnessing development, especially in the performance of computers with the advent of image processing and pattern recognition techniques. This research seeks to explore the possibilities of experiences. Virtual reality solves many problems. Therefore, this study aims to find a solution to collect, complete and reconstruct artefacts based on the edges of the artefact to achieve high accuracy in the shortest time .

Significance of the Research:

1. Documentation and Preservation: VR technology offers an innovative and immersive way to document and preserve movable heritage objects digitally. By creating highly detailed 3D models and virtual environments.
2. Accessibility and Dissemination: VR can make movable heritage objects enabling remote study and appreciation of cultural artifacts without the need for physical proximity or handling.
3. Interactive Learning and Interpretation: Users can explore, manipulate, and examine virtual objects from various angles and perspectives, enhancing their understanding and appreciation of the artifacts' historical, cultural, and artistic significance.
4. Conservation and Restoration Simulations: VR simulations can be used to test and experiment with different conservation and restoration techniques without risking damage to the actual objects.
5. Training and Skill Development: VR applications can be employed as training tools for conservators and museum professionals.
6. Interdisciplinary Collaboration: The development and implementation of VR in movable heritage conservation often require collaboration among various disciplines, including conservation science, computer science, and engineering, archaeology, and art history.
7. Advancement of Digital Heritage: The integration of VR in movable heritage conservation contributes to the broader field of digital heritage.

Methodology:

Virtual Reality (VR) technology has emerged as a powerful tool in the field of movable heritage conservation, contributing significantly to the broader realm of digital heritage. The methodology of utilizing VR in this context offers several advantages and applications that enhance our ability to preserve and disseminate cultural heritage.

Digital Documentation and Visualization: VR allows for the creation of highly accurate and immersive 3D models of movable heritage objects, such as artworks, artifacts, and archaeological finds. These digital replicas can be captured and preserved in great detail, ensuring that the physical objects are safeguarded against potential damage or deterioration over time.

Interactive Exploration: By leveraging VR technology, researchers, conservators, and the general public can virtually interact with and explore movable heritage objects in a highly engaging and intuitive manner. This interactive experience facilitates a deeper understanding and appreciation of the cultural significance and historical context of these objects.

Virtual Reconstruction: In cases where movable heritage objects are fragmented or damaged, VR enables researchers to virtually reconstruct and visualize their original form or recreate missing components based on available data and scholarly interpretations. This capability is particularly valuable for objects that cannot be physically restored or reassembled.

Remote Collaboration and Access: VR platforms allow for remote collaboration among researchers, conservators, and experts from different locations, enabling them to virtually examine and discuss movable heritage objects without the need for physical access or transportation. This accessibility enhances knowledge sharing and facilitates interdisciplinary collaborations.

1. Educational and Public Outreach: VR provides an immersive and engaging way to educate the public about movable heritage objects and their cultural significance. Virtual exhibitions and interactive experiences can be developed, allowing broader audiences to appreciate and connect with these cultural treasures, even if they cannot physically visit the institutions housing them.
2. Risk Mitigation and Conservation Planning: By creating digital models and simulations, VR enables conservators to assess and plan conservation strategies for movable heritage objects without risking damage to the physical artifacts. Virtual simulations can be used to test various conservation techniques and materials before implementing them on the actual objects.
3. The methodology of VR in movable heritage conservation contributes to the broader field of digital heritage by enabling innovative approaches to documentation, interpretation, and dissemination of cultural heritage. It fosters interdisciplinary collaborations, enhances accessibility, and promotes public engagement, ultimately advancing our understanding and preservation of cultural heritage on a global scale.
4. Case Studies: Examine case studies of successful implementations of VR in the conservation of movable heritage objects

Speakers

Samy Mohamed

Authors

Rasha Mohamed

Samy Mohamed

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

When Objects “Go Home for a Visit”: Flipping the Script (and the Map!) on Collections Access

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

In June 2024, several dozen 20th century Hopi objects made the unlikely journey from Wesleyan University, Connecticut to Moenkopi, Arizona for a week-long visit. It was unlikely because it was not an exhibit, loan, or repatriation request– rather, it was a “re-imagined” collections research visit, coordinated in collaboration with Patty Talahongva, a Hopi woman who had recently discovered that her great-great grandmother’s pottery was in Wesleyan’s collections.

Talahongva’s request challenged Wesleyan to reconfigure the temporal and spatial conventions of museum collections access. Rather than requiring members of the community to come to the repository, the repository went to Hopi. Rather than work out the logistics for 2-3 years (as would be typical for a traveling exhibit), the planning and execution of this event took place in less than 12 months - one reason for the urgency was the age of the descendants of the artists, many of whom are in their 80s and 90s. For three days, Hopi community members, direct descendants of the objects’ creators, and members of the general public were able to engage directly and meaningfully with works of pottery, basketry, katsina dolls, and textiles. During our event grandparents were able to share this experience with their grandchildren and even some great grandchildren. While unorthodox from a museum perspective, Talahongva’s vision aligned with the Wesleyan Library’s desire to embody more inclusive models for access, to think more expansively about modes of “preservation,” and to consider the importance of contemporary cultural connections in care regimes.

By centering contemporary Hopi families and Hopi lands in the request for collections access, the Tuma Angwu Owya (“Let’s Go Home for a Visit”) project lays the groundwork for more inclusive, responsive, and culturally informed models of stewardship and collections care. This presentation will provide context for the original collection, the factors motivating Talahongva’s initial request, and the triumphs and challenges of planning such an innovative and unconventional event, from the perspective of both community partners and collections staff. We will also discuss the ripple effects of the project on the repository and the Hopi community over a year later and thoughts on the viability of this model for other museums.

Speakers

Wendi Field Murray

Archaeological Collections Manager/Repatriation Coordinator, Wesleyan University

Wendi Field Murray is a North American archaeologist and collections care specialist who currently works as the Archaeology Collections Manager and Repatriation Coordinator at Wesleyan University. She received her PhD in Anthropology from the University of Arizona and her Graduate... Read More →

Authors

Wendi Field Murray

Archaeological Collections Manager/Repatriation Coordinator, Wesleyan University

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Will It Still Stick? -- Investigating Adhesive Suitability for the Consolidation of Steel Treated with Corrosion Inhibitor at the National September 11 Memorial & Museum

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

This project investigates the retreatablility of mild steel in a marine environment with a selection of conservation and proprietary adhesives after a corrosion inhibitor, Ship-2-Shore (S2S), has been applied. S2S is an oily, calcium sulfonate-based “dewatering fluid” that penetrates vulnerable areas and displaces moisture. Corroding steel will often delaminate and detach requiring consolidation methods that are compatible with this barrier-like corrosion inhibitor.

The locus of this exposed steel is a 60’ x 60’ portion of the Slurry Wall. This reinforced concrete architectural feature is an archaeological remnant of the original retaining wall responsible for holding back the Hudson River during excavation of the original World Trade Center site. It now remains preserved in situ as the 9/11 Memorial Museum’s largest artifact. In the aftermath of 9/11, steel cables (tiebacks) were installed to stabilize and temporarily anchor the wall into bedrock during the site recovery. Though the Slurry Wall no longer performs a structural function, the tiebacks and their steel caps remain visible on the surface, continuously exposed to brackish water infiltration that was a feature of the wall since its inception.

Displaying a former structural element in a dynamic environment brings some conservation challenges. Reinforced concrete has an expected use life, and water ingress poses a continuing risk to the tiebacks. A five-year investigation of the structural integrity of the wall and conservation triage identified the corrosion and delamination of the tiebacks as a significant concern. After research into a variety of corrosion inhibitors that would function in this unique environment, half of the exposed tiebacks were treated with S2S. Although appearing to have mitigated the corrosion, S2S does not secure delaminating fragments. The proposed plan is to re-adhere lifting pieces before they detach. However, whether the S2S will interfere with curing and adhesive properties needs to be determined before implementation of any treatment plan. When one emergency is over, how do you plan for the next? Small-scale testing may help form the answer for ongoing care.

A DeFelsko PosiTest® AT Pull-off Adhesion Tester was used to quantify and compare the efficacy of 12 adhesives applied to both S2S-coated and uncoated steel plates in humid and ambient environmental conditions in laboratory setup. Graphs of the tensile strength data and detail images of the failed test joins reveal a marked and surprising difference in the performance of the various adhesives. Alkyd-compatible acrylic resins (Paraloid B-67, Plexigum PQ-611) in nonpolar solvents adhered best to the oily S2S surface without displacing the coating and allowing the formation of rust. A narrowed field of adhesives will determine the effects of additional parameters on relative tensile bond strength: adhesive concentrations, solvents selection, pre-corroded surface topographies, and cure time of the coating before adhesive application.

These tests inform an ideal treatment protocol for corroded steel that is consistently exposed to moisture and wet-dry cycles by balancing corrosion protection with surface integrity. Simulating maintenance treatments expected in future years builds a better understanding of how the metal, coating, and adhesive interact and prepares for next necessary interventions.

Speakers

Andy Wolf

National September 11 Memorial & Museum

Andy Wolf is Assistant Conservator at the National September 11 Memorial & Museum. He holds an MA in Art History and an MS in Conservation from the Conservation Center of the Institute of Fine Arts at New York University. During his graduate education, he completed conservation internships... Read More →

Authors

Andy Wolf

National September 11 Memorial & Museum

Kerith Koss Schrager

Rebecca Rosen

Friday May 30, 2025 3:30pm - 4:00pm PDT
Hyatt Regency Minneapolis 229 W 43RD St New York, NY 10036 USA

Poster Session

3:30pm PDT

Yes! You can Read Comics in Class: The National Park Service Graphic Stories, a new and dynamic approach to technical guides

Friday May 30, 2025 3:30pm - 4:00pm PDT

Hyatt Regency Minneapolis

The National Park Service graphic stories are a series of one-page “graphic-novel” style educational guides on proper landscape care and maintenance around historically sensitive areas. The guides are used to teach seasonal and temporary workers at parks across the nation who are just learning about these principles for the first time. While other mediums can incorporate visual tools, the graphic stories are an all-encompassing package deal by incorporating illustration and narrative concurrently. As a result, workers can seamlessly learn about and visualize tools and safety precautions they need to apply in the field. The side by side relationship between text and visual within each individual “comic panel” delivers an efficient and comprehensive understanding of skills in one go that can not be replicated in other mediums. This tool is a fresh, new way to look at education and has made training more digestible and engaging. While simple visual guides have been utilized by the field, educating others on technical skills through mediums such as comics and graphic novels is very new. These stories are an effective tool to educate the new generation of conservators, preservationists and technicians by interweaving narrative and the visual.

The project is a result of collaboration between two National Park Service entities and a freelance historian and illustrator (me). The Olmsted Center for Landscape Preservation and the National Center for Preservation Technology and Training conceptualized the stories and authored the narratives. I worked closely with these teams to illustrate and lay out the stories in a clear and dynamic manner. I was brought on as the illustrator due to my dual practitioner knowledge, being both an illustrator and historic preservation professional. Illustrated digitally, each story incorporates a cohesive color palette and brush stroke style for uniformity within the series. Exploring topics such as “Pruning Trees”, “Tool Maintenance”, "Mowing” and “Hazardous Tree Response,” I conducted copious research and reference material collection to ensure all the subjects I was illustrating were as accurate as possible as the guides are technical, first and foremost.

The initial phase of the project resulted in ten stories surrounding landscape care and maintenance around historically sensitive areas. More stories are in the works to continue this topic in addition to historic masonry and cemetery care and maintenance. As the National Park Service’s training programs utilize the stories on the ground and in the field, it is a prime example of how we can use comics/graphic mediums to educate when the subject matter is so inherently visual.

Speakers

Sydney Andrea Landers

Squidny Comics

Sydney Andrea Landers (she/her/ella) is a freelance architectural historian and illustrator based in Los Angeles. Sydney’s journey with history-oriented comics and graphic novels began with "AGBANY: the birth of the historic preservation movement" which she authored and illustrated... Read More →

Authors

Poster Session