Spirits

Not of the ghostly kind. No, this is the name of our collection of objects preserved in a “spirit” form. Spirit preserves soft tissue and delicate internal structures, making it possible for all types of research to be done.

We have a large range of historic and more recent spirited specimens, and together they comprise a window to both the past and future. Cutting-edge research can use the specimens to track evolution changes over time. In our varied collection we have examples of sea-life, insects, plants, mammals, birds and reptiles and more…

They may not always be the prettiest, but they are an important natural history resource. These jars were part of a recent project to catalogue the collection as the moved into a brand new store in the GNM Learning and Resource Centre at Discovery Museum.

Joe’s blog part 2

Joe was described by those who knew him as a ‘gentle man with a smile for everyone’. In a letter to his mother, sent during WWII when he was on active service in the Middle East, he wrote that it was his ability to always find a funny side to the events around him that kept him going.

These two items stored in a wallet containing his mementoes of that time show us his sense of humour and how it would bring a smile to those around him.

All Hands on Deck!

We have had a very busy time of it here in the painting conservation studio with two major new TWAM (Tyne & Wear Archives & Museums) exhibitions opening as well as some other fantastic travelling exhibitions to over see.

Fitting the larger paintings in the new Northern Spirit Gallery

Fitting the larger paintings in the new Northern Spirit Gallery

Carol has been working flat out to get 6 paintings ready for the 150 years exhibition at South Shields and I have been working (with a lot of help from volunteers) on getting the 40 + paintings ready for the opening of our New Northern spirit Gallery. Most of the work which needed doing on the paintings for Northern Spirit was to do with the frames some of which were dirty and damaged!

Cleaning the Emmerson frame for display many of the mouldings were missing and had to be replaced

Cleaning the Emmerson frame for display many of the mouldings were missing and had to be replaced

Casts made from the original frame to replace the lost areas

Casts made from the original frame to replace the lost areas

Carol had a lot of major work to do on the portraits for South Shields (her boys as we called them) some of which had obviously not received such attention for some time.

During varnish removal	. The black lines all over the face are caused by the way the paint has dried due to poor painting technique

During varnish removal . The black lines all over the face are caused by the way the paint has dried due to poor painting technique

After varnish removal. As you can see on the collar, the brown varnish is no longer changing the colour and tones. It was decided to re-touch the major cracks as they were distorting the facial features. This was done with synthetic varnish and dry pigments so the retouching can be easily removed in the future

After varnish removal. As you can see on the collar, the brown varnish is no longer changing the colour and tones. It was decided to re-touch the major cracks as they were distorting the facial features. This was done with synthetic varnish and dry pigments so the retouching can be easily removed in the future

we are now cleaning the studio and catching up on the paperwork until the next onslaught of exhibitions which we will start next week with preparations for the Treasures of the Shipley exhibition 81 paintings on the list (though I’m hoping that will be narrowed down) so that it will be All Calm on the Conservation front (at least for a little while).

Keeper of Art, Hatton Gallery

Between Friday 1 and Sunday 3 October I visited Elterwater in the shadow of the Langdale Pikes to attend ‘KS10’, the 4th annual ‘Kurt Schwitters Autumn School’ held on the site (and in nearby Chapel Stile village hall) where Kurt Schwitters’ Merz Barn wall, which now resides in the Hatton Gallery, was originally created.

These ‘Schools’ (which is a far too formal description for what are in fact very lively informal gatherings of a wide variety of people) are organised by Littoral, a non-profit arts trust which promote creative partnerships, critical art practices and cultural strategies in response to social and environmental issues, and who also own the site at ‘Cylinders’ where the barn is situated and are actively engaged in promoting Schwitter’s legacy in Britain.

Merzbarn, Cylinders Farm, Oct 2010

Merzbarn, Cylinders Farm, Oct 2010

The School was particularly exciting this year as I had the opportunity to meet some ‘VIPs’ from the international Schwitters ‘community’ including John Elderfield, currently Chief Curator Emeritus at MoMA, New York who delivered the Friday evening lecture, Dr Isabel Schulz, Curator of the Kurt Schwitters Archive at the Sprengel Museum in Hannover and Derek Pullen, Head of Sculpture Conservation at the Tate. Speaking with them, all were very interested in our plans to improve how the wall is currently presented to visitors as part of our planned refurbishment and in my own current research to uncover the full story of how the barn came to be given to the Hatton.

Rob showing his research on the Merzbarn to John Elderfield, who is a Schwitters expert and Chief Curator Emeritus at the Museum of Modern Art in New York

Rob showing his research on the Merzbarn to John Elderfield, who is a Schwitters expert and Chief Curator Emeritus at the Museum of Modern Art in New York

Preparing a Japanese Norimono for exhibition at the Laing Art Gallery

Here’s a movie which records Dawn Bradshaw and Christina Stephenson, two of TWAM’s Conservators, preparing this beautifully crafted object (TWCMS : J1509) for an exhibition which was held at the Laing Art Gallery (Japanese Wave, 1st May 2010 to 5 September 2010).

Click here to watch the video

This is a special type of ceremonial palanquin known as a norimono, used for transporting ‘daimyo’, a ‘lord’, and individual family members on special occasions such as a wedding. The lacquer decoration is in an official style which came into being during the second half of the seventeenth-century. This norimono may have belonged to larger set of similarly decorated items forming part of a wedding dowry.

There are many different types of palanquin or ‘kago’. The most elaborately decorated carriages were only used by nobles and high officials, while lower ranking members of the upper classes would travel in simpler versions. The type of kago, like the strict dress codes imposed on individuals in Edo-period Japan, served to enforce the class system.

Curator of the Japanese Wave exhibition, Lesley Richardson selected the norimono for display as an illustration of this aspect of Edo-period culture and to relate items depicted in the woodblock prints, also on display, to real objects.

A more basic version of this palanquin can be seen in some of Hiroshige’s famous ukiyo-e series ‘The Fifty-Three Stations on the Tokaido Highway’, showing daimyo processions known as sankin kotai. The very back of the pole of an elaborate palanquin similar to the one on display can also be seen in Toyokuni’s print ‘The Peak of Mount Fuji and a Procession of Beauties’.

Hiroshige's famous ukiyo-e series. 'The Fifty-Three Stations on the Tokaido Highway', showing daimyo processions known as sankin kotai (TWCMS 2008.2084).

Toyokuni's print 'The Peak of Mount Fuji and a Procession of Beauties' (TWCMS 1998.380).

This norimono, now having been on public display for five months and been enjoyed by many visitors to the Laing Art Gallery, is now back in TWAM’s environmentally controlled stores.

Part of the Norimono before treatment

Conservator's notes in advance of treatment

Inside the Norimono after tear repair by paper conservator

The conservation movie was made by TWAM Photographer Les Golding and Dawn Bradshaw.