Adjuster Insights: Summer Street

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HANDLING FINE ART LOSSES

Written by Summer Street

Woman With 
Yellow Headwrap, 
Before Treatment

Artwork, antiques and collectibles are commonly included with large and small sized claims in both private and corporate settings. Since art conservation is such a unique field, it is often overlooked as on-site contractors are unsure of how to handle the items involved. Awareness and education of the basics in this industry are helpful during the adjusting process to determine if conservation is an option or the items are a loss, and ultimately, how to settle the claim when fine arts are involved.

The quantity and value of fine art will vary greatly in loss situations. A residential site can have anywhere from a few items of sentimental value to a high volume art collection. Commercial sites can also house a few pieces or an extensive inventory. Often universities and other institutions will have voluminous collections that will require additional coordination with professionals.

On-Site Tips Following a Claim

Woman With 
Yellow Headwrap, 
After Treatment

When handling fine art on-site, there are additional details that need to be considered: correct identification (artist, title, medium, dimensions), cause of damage, condition stability, insurance status/coverage during transport, best method of transportation, risk of transportation, and proper packing/crating procedures. A specialist in art handling and conservation can provide instruction and advise how to best manage the situation. However, there are some general steps to follow to best approach handling fine art on-site.

• Once the area is accessible, contact the insurance and experts/conservators. The conservation company will advise on the process of response and renewing items of concern. Items with damage or of concern should be moved to a controlled area as soon as possible where they can be kept safely and avoid further damage and harmful exposures.
• As items are removed, they should be inventoried with a brief written notation and then photographed. Numbering each item (or bar-coding if possible) and creating an inventory will assist in the management of the recovery process. Although it is important to address the items in a timely manner, a few moments spent ensuring precise records are kept can be invaluable going forward.
• During recovery, if items become structurally unsound, be sure to retain all components and keep them together. Bag and label any pieces which come loose for easy identification.
• Never assume an item is a loss. During the recovery stages, all items that can be removed should be considered for examination. A conservator will provide a detailed condition report and treatment proposal which will outline options and reparability.
• Wet or damaged property should be transported as soon as possible to a conservation laboratory or temporary facility. When dealing with significant and/or high-end property, experts can assist with transport in a climate-controlled, air-ride truck. If it is necessary to ship property through a national carrier, begin the process immediately so that items can be assessed by experts prior to the occurrence of any fast drying, which can potentially cause irreversible results. Books and works of art on paper can be shipped in coolers with ice packs so that they can be kept in their current state.
• Any extreme fluctuations in temperature and/or humidity can increase the extent of damage to an item.
• During triage, conservators will carefully review each piece and undertake slow, controlled and monitored drying as necessary.
• Once items are stabilized, a conservator should prepare a thorough condition report of each piece and provide detailed treatment recommendations with photography for the client to review. This process should include consultation with clients to discuss which items are eligible for conservation and expected treatment outcomes, as well as any items that are potentially a loss.

Napoleonic Dragoon Helmet, 
Before Treatment

Large-Scale Recovery Strategy

Large-scale art collections can often represent a considerable asset to the private, corporate or institutional owner. Below is a large-scale recovery strategy which follows a series of guidelines:

• During disaster situations, resources can deplete rapidly. If the client has a disaster response plan in place, the company is encouraged to initiate contact with the preferred resources.
• Assemble a disaster response team and establish protocols.
• Assess safety needs and environmental requirements.
• As soon as the location is secure, visit the area and document the collection in-situ.
• Set up a safe staging area on-site to make an official inventory including medium, dimensions, artist, frame/mount, date, and title if available.
• Photograph every piece individually and offer any triage if required.
• Establish safe packing, handling and transportation based on the material.
• Transport in alarmed, climate-controlled, air-ride vehicles.
• Unload, examine, and test each item for condition and treatment assessment.
• Triage items in need of immediate care and stabilization after written authorization.
• Slowly, under controlled and monitored conditions, return the pieces back to a stable environment of temperature and humidity controls ranging from 68-72 degrees Fahrenheit and 40-50 percent relative humidity.
• Prepare a written report with condition, treatment recommendations, cost and time involved for each item including a collection summary. Please note this includes establishing pre-loss and post-loss damages.
• Await approval of treatment and once written authorization is received, proceed with conservation treatment recommendations.

Experiences from handling hundreds of high volume disaster scenarios with art and artifacts, including the 2008 Cedar River flooding, provide invaluable knowledge for the future.

Case Study 2008 Cedar River Flood

Napoleonic Dragoon
Helmet,
After Conservation
(With Custom
Fabricated Mount)

As a result of the massive flooding of the Cedar and Iowa Rivers that occurred in Iowa last June, the National Czech and Slovak Museum and Library in Cedar Rapids, Iowa was flooded with 15 feet of water, well above any historical level. As soon as the water began to recede and the building was safe to enter, the Chicago Conservation Center sent a five-person disaster response team (requested by the adjustor and museum director) to assess and recover the textile collection that had been located on the first floor of the museum, and as a result, completely immersed during the flood. This portion of the textile collection encompassed approximately 1,000 traditional Czech and Slovak costumes and garments, many with detailed colored embroidery, glass beading, embellishments, and metallic thread decorations.

The textiles had been lying soaking wet on the floor and were soiled by black, putrid mud that had covered the entire interior of the building. As a result, they were very nearly destroyed. In addition to the hazardous conditions inside caused by the collapse of showcases, mannequins and sections of wall, there was no electricity. Fortunately, due to exceptionally dry and breezy weather following the receding of the water, mold outbreaks remained localized.

Czech Vest, 
Frozen For Transport, 
Before Treatment

After general assessment of the situation, triage of the wet, muddy textiles was put in motion in order to stabilize their condition before ultimately shipping them to Chicago. An entire washing station was improvised in the parking lot of the museum, including rows of laundry tubs and 8x4 drying racks.

Prior to rinsing, the muddier textiles were gently washed off. They were then rinsed in successive baths of clean water, separating the whites from the colors to avoid dyes bleeding and discoloration. Mud deposits were removed with soft paint brushes. The textiles were then patted dry on tables with towels, soft sponges and blotting tissue, and then placed on makeshift drying racks. The textiles were regularly turned and reshaped (especially blouses and large pleated skirts) until fully dry. From there, they were packed and shipped to The Center’s facilities in Chicago. Upon arrival, a close examination and inventory of the textiles was undertaken in order to determine the best approach for future conservation treatments.


This operation of triage and stabilization was possible due to ideal weather conditions, a dedicated skillful group of volunteers, and an experienced, well-trained disaster response team of conservators and art handlers. In this case experience, prevention and advance planning ultimately maximized recovery and reduced loss.

Czech Vest, After Treatment

When private and corporate assets are held within an art collection, a timely response can make the difference in saving the value of the collection. This can be just as important when handling smaller, residential claims. It takes years of experience to build an understanding of what to do and how best to do it. Having an experienced conservator as part of the team for these scenarios can be an invaluable complement to the rest of a company’s restoration and recovery services.

Coverings, Calendars, and Ketubahs

As Jewish heritage spans many countries, cultures, and customs, the ceremonial and ritual objects pictured here are only a few of many permutations and preferences.  Nevertheless, they share the same background and prominence in their congregations and households. The conservation of these pieces often had the added task of ensuring that these objects could still be used or ritually displayed, which will also be discussed.

The Torah is kept in a special case, called the Aron Habrit, or Ark of the Covenant, either in front of or within the synagogue walls, which is itself covered by a special curtain.  These curtains are lavishly adorned and constructed with fine materials, so the example provided here is certainly no exception to their grandiosity.  The tassels, fringing, and embroidered gold inscriptions are all traditional elements, though according to some sources, the orange is a less common variant of the usual red or blue.  Its purpose in the modern day can be traced back to the many rugs and tent cloth draperies which accompanied the Tabernacle for the earliest Hebrews.  One term used for this type of Torah mantle is paroket, which denotes its dividing purpose between the sacredness of the scrolls within and the less holy surroundings without.  For a discussion of the conservation of this artifact and information about its unique history, please see: The Torah Mantle: Preserving a Cultural Treasure.

A ketubah is first and foremost a marriage document, but as a cherished possession displayed prominently in one’s home, it is invariably well decorated.  Illumination and calligraphy are frequently used, and The Center has examples of both.  The first illustrated document hails recently from Glencoe, IL, and richly depicts an Eden of flora and fauna. The treatment included stabilization of the sheet, which had torn already in its short lifetime.  Our second is a calligraphic example on vellum from 1860.  The English underneath the scripted Hebrew seems to indicate a similar American origin, yet the presentation is clearly borrowing from more traditional aesthetics.  It came to The Center for basic cleaning and a new frame, both of which will help the document’s longevity.  Finally, a ketubah from Turkey our conservators treated combines both the vellum sheet and the inked script of the 1860 piece, but is bordered by a floral motif in watercolors.  Interestingly enough, the entire document appears to be in Hebrew, rather than half that language and half the language of the residents’ country, like the previous two.  It arrived at The Center in two pieces, but our conservators mended the precious document and its halves are rejoined once more.

The Sefirat Ha-omer, or the Counting of the Omer, occurs between Passover and Shavuot, with a recitation of a blessing each night in anticipation of the anniversary of the giving of the Torah.  Each day of blessings includes an Omer-count, which states what day of the Omer it is and how many weeks and days it has been from the start.  This Omer calendar thus places on the top row the count of the Omer, while the second row is the week, and the third the day.  This explains the presence of two 3s and a blank square: the week is still the third for the 26^th and 27^th days of the Omer, but the 28^th is 4 weeks total, with no extra days.  In order to allow the owner of this illuminated scroll to both display the calendar as an artwork and to progress through the Omer, the Custom Framing and Fabrication department created a vitrine which would keep the scroll safe for either display or use.  A report on its construction can be found here: Protection without Relinquishing Function.

Hanukkah menorahs are some of the most recognizable accoutrements of Judaism, due in no small part, one suspects, to that holiday’s close proximity to Christianity’s blockbuster holiday.  Nevertheless, they remain not only recognizable but widely produced, both in the traditional candelabra forms and in more modern interpretations. The only prerequisite is that there be 8 candles at the same height, plus an additional one, preferably above the rest-- the menorahs used within synagogues since ancient times lack this extra candle, which is specific to the Hanukkah menorah. The artifact that arrived at The Conservation Center was in a woeful state, then, for the additional candle’s holder had broken off, rendering it inadequate for the Hanukkah celebrations.  Thankfully, the conservators were able to straighten the arm and reattach it, thus restoring a family treasure to usefulness once again.

To read the other article written for the "Heritage Artifacts" January Newsletter, please visit: Horses, Houses, and Honored Ancestors.

Horses, Houses, and Honored Ancestors

The peoples living in what we today know as The People’s Republic of China have been making art for centuries. Our personal archives can hardly hope to present a complete picture of Chinese art history, but we have been graced with some excellent examples of artistic eras and traditions, spanning in some cases thousands of years.

 
 

This map, probably from China’s Ming Dynasty in the 16^th century, helps the viewer understand the flow of economic activity in a region bordered by the sea and a mountain range.  Yet it also portrays small slices of life, such as the archery competition happening to the southeast of the central complex. As one might expect from a map which was used to determine taxes and tariffs, the buildings are not of one stock design but vary in size and ornamentation, denoting the wealth and status of the family who resided inside. The wide range of activities and architecture illustrated in this map provide the modern viewer an intriguing glance into China’s economic past. The process of its conservation was discussed in this article: History Flaking Apart.

This example of calligraphy is on a silk banner which had deteriorated and become embrittled over time.  It had been backed to newspaper at some point in the distant past, which was flaking off in large chunks as it arrived at The Center.  Conservators removed the grime and acid burn, and stabilized the fractures in the silk.  With the acidic newspaper backing removed, and reinforcement on its tears, this banner will be stable for  many years to come.

Terracotta figurines have long been a traditional Chinese art form, especially for inclusion in burials.  The Terracotta Army of the First Qin Emperor is the most well known to Westerners who have not studied Chinese art, but the practice extends beyond him and beyond his subject matter.  Depending on the prevailing beliefs of the time, important people who could afford it might be buried with objects which would make their afterlives comfortable, or objects which denoted their wealth and status in their past life.  Generally these two categories overlapped and horse figurines fit nicely into both, as an expensive but necessary animal to keep.  Though some horses have come down to the modern day without their riders, others are known to be ridden by soldiers, polo players, and even an orchestra of musicians.  This horse’s conservation process is discussed here: Back in the Race.

Though the rituals and reverence surrounding deceased family members have always existed in Chinese society, the genre of ancestor portraits gained prominence in the mid-fifteenth century.  Invariably presented frontally, sitting, with an imperturbable gaze, these commemorative portraits all conform to a type, yet the subject’s individuality is paramount.  An incorrect likeness might lead a family to ask blessings of someone else’s ancestor!  Thus within the rigid formality of court dress and posture, facial features are a required nonconformity.  However, dating these portraits is made difficult by the necessity of a posthumous creation--sometimes even waiting until an ancestor has been reinstated after a fall from grace during his lifetime--and the frequency of copies.  Artistically, they cannot be attributed to any sole artist, as they were products of workshops, and the regalia they wear is more attuned to iconography than fashion.  These elegant depictions of Chinese royalty and elite are nowadays collected by those who are unrelated to the individual pictured; nevertheless, it is surely a noble gesture that they be treasured and preserved by someone, rather than neglected and left to completely deteriorate.

To read the other article written for the "Heritage Artifacts" January Newsletter, please visit: Coverings, Candelabras and Ketubahs.

Protection without Relinquishing Function: Custom Framing

OMER CALENDAR SCROLL CUSTOM MOUNT & VITRINE

By Milan Bobysud, Associate Framer and Conservation Technician

 

This Omer calendar scroll is hand-painted and calligraphied on a continuous strip of goatskin vellum, rolled on a pair of wooden spools. Over time the vellum became heavily buckled and fragile, making it impossible to unroll more than twelve inches at a time. The challenge was to provide an archival mount which would preserve and protect the fragile manuscript, and also allow the owner to scroll through it at will.

Omer scroll upon arrival to The Center

I started with a strong substrate of a wooden frame, acid-free foam board and 100% rag museum board, and covered it in black linen. The middle section of the scroll was then supported by a linen-covered raised platform made from acid-free foam board and 4-ply museum board, facilitating an even and flat layout of the calendar.

The spools were then secured to the backing board with two pairs of loops made from framing linen and 2-ply museum board. I threaded these through the backing board and secured them to the underside with Velcro closures making it easy to repeatedly move through the calendar without compromising the security of the mount.

Left: Front of the mount showing Velcro closures; Right: Detail of adjustable loops

The calendar is further protected from atmospheric and mechanical harms by a vitrine made with UV-filtering Plexiglas. This material not only blocks 97% of damaging UV light, but also offers clear views of the scroll from all sides. The enclosure of the mounted calendar in the vitrine successfully concluded the conservation process, and fulfilled the client's expectations of complete protection, permanent display and full mobility for this precious artifact.

Omer encased in custom mount and vitrine.

A Terracotta Horse, Back in the Race

Originally published on our website, this article is reprinted here as part of our effort to consolidate our written archive.

BACK IN THE RACE: REPAIRING A CHINESE TANG DYNASTY ARTIFACT
By Natalia Ivancevich, Assistant Conservator of Objects; and, Gabrielle Tieu, Senior Conservator of Objects

This Chinese Tang Dynasty Painted Pottery Figure of a Prancing Horse was damaged as a result of improper packing and packing materials during the shipping process. Upon examination, it was discovered that the breaks occurred at points on the legs where they had been previously repaired. It also became evident that there were other areas of previous poor restoration, notably around the face of the horse; these areas remained unharmed.

To begin treatment, the horse was held securely in place by a combination of foam padding and weights. This allowed for exact positioning of the legs with the help of conservation tools and gravity. They were then easily re-adhered with conservation adhesives.

Losses along the break lines were filled with a reversible material and in-painted with conservation grade pigments.

Repairing the shipping related damage was now complete.

However, the previous restoration remained unresolved. With the client's approval, additional treatment was preformed to address and repair the distracting previous interventions.

The existing excess adhesive was mechanically removed, and losses were filled and in-painted.

A replacement ear was also created using a gypsum based material which was shaped and in-painted to emulate the existing surface.

The legs are now repaired and stable, and the troublesome previous repairs have been resolved. Finally, a fitted crate was fabricated to insure a safe shipping and proper storage.

More Reading: Further Education

Chances are that if you're here, you possess at least a moderate interest in the practice of conservation.  Whether this is merely a general curiosity, or researched with a personal treasure in mind, there are a few additional scholarly resources that might pique your interest.  Obviously, those who are interested not just in the practice of conservation, but in the field itself, will be acquainted with these universities, but for the rest of the audience, here are some blogs from graduate students in Conservation:

Queen's University (Ontario): Student Blog
UCLA: Archaeological and Ethnographic Materials: Program Blog

University of Delaware's Student Blogs:

Class of 2013
Rose Daly
Caroline Roberts
Steven O'Banion
Chris Cole
Amanda Norbutus

Granted, these are not the only institutions with Conservation graduate programs, simply the ones whose students are updating the internet public with their activities and progress.  For a more complete list of Conservation degrees awarded in North America, please visit the AIC's Conservation Training Resources page.

The Torah Mantle

Originally published on our website, this article is reprinted here as part of our effort to consolidate our written archive.
 

THE TORAH MANTLE: PRESERVING A CULTURAL TREASURE

By Iola Gardner, Textile Conservator

Post treatment: Mounted Torah Mantle

TRANSLATION OF THE MANTLE:
This drapery is known as “pruchat aron”, and is used to cover the sacred cabinet that houses the Temple’s Torah, in the form of a massive scroll. Along the upper section are the main symbols of First Temple: The Torah Crown; a pair of wings belonging to the “karuvim”, or angels, who were believed to overlook the sacrificial altar; a seven-light Menorah (as opposed to the eight-light Hanukkah Menorah); the robe worn by the great “cohen”, or priest, who would be commanding the Temple; the tablets with the Ten Commandments; and the sacrificial altar. Collectively, these symbolize the holiest of the elements pertaining to the Temple. 

 

Detail of angels

The elements in the main section: columns, vases, tulips, winged horses, are decorative, and bear no religious significance. However, inside the red, central section is a dedication. The “pruchat aron” is always commissioned to honor the passing of loved ones. In this case, it appears to be in memory of a couple. The letters run into each other and as a result it is difficult to tell the exact names of each, but the dedication appears to read: “Torah Crown, belonging to the triumphant… Judah Moshe son of Joseph…and his important wife Hartsina daughter of Esther daughter of Shimon the Cohen…” This is followed by the date of their death. The year is unclear, but it is marked as “The beginning of the month of Elul” (the latter corresponds to the last month in the Hebrew calendar). An additional set of initials most likely stand for “May their souls be linked together in the chain of life.” (Translation courtesy of Shlomi Rabi)

To see additional information on the Torah, please click here. (pdf) Courtesey of Moshe Armel. Moshe Armel is a writer, translator and teacher specializing in Judaic studies. 

Detail of the main section with dedication

The Torah Mantle, pictured above, came to The Center in need of general conservation and new housing to preserve its cultural and historic integrity. This particular Mantle is made of beautiful rust and sienna colored velveteen with intricate and finely decorated images, which are depicted with exquisite threadwork throughout. Historically, Mantles are extremely elaborate and ornate in nature, and filled with ritual Jewish symbolism. The Torah Mantle’s sole purpose is to cover and protect the Torah that it houses.

Upon initial examination, it became apparent that this textile was in fragile condition and required great attention to the manner of handling. The piece’s fragility, coupled with its sheer size, required a detailed treatment to provide proper preservation. As with anything historic in nature, areas of previous repairs are commonplace, and this was no exception. The areas of previous repair were left intact to retain and honor the historical integrity of the piece. There were numerous broken threads in the metallic embroidery that needed to be addressed. The Mantle needed to be archivally mounted and displayed with stability and longevity in mind.

As part of the treatment, the fabric was meticulously surface cleaned by vacuuming it through a fine protective screen with a low power vacuum to remove any loose debris that had collected over the years. Additional surface deposits were removed manually with the aid of magnification. The broken metallic threads were repositioned and couched in place. The tassels were treated with the final housing in mind. Along the points of the valance, there are long cords that were secured with a wrapped tack allowing it to hang freely and naturally, without the danger of them coming into contact with housing materials. 

 

Detail of tassels

A custom mount was devised and built to provide stable support for the Mantle while allowing the piece to be displayed to its fullest potential. The mount consisted of sealed wooden stretcher bars that were wrapped with prepared canvas, and then with prepared Belgian linen of a neutral color. Cotton floss stitches attached the textile to the mount. A custom built UV filtering Plexiglas vitrine was then placed on top and around the mounted textile and secured into place.

The Mantle is now clean, stable, and protected for display. The results are stunning.

Pre treatment: Torah Mantle housed in wooden vitrine.

Post treatment: Mounted Torah Mantle