Australian Centre for the Moving Image (ACMI)
Registration and Exhibitions
Our Registration team, conservators from Objects Conservation Melbourne, art handlers from Exhibitone and a visiting Disney Courier have completed the installation for Disney: The Magic of Animation exhibition. With over 500 artefacts including prints, drawings, concept art, moving-image footage, and a model village made entirely from sweets, it has been a huge installation now diligently maintained by our Registration team.
ACMI’s new permanent exhibition The Story of the Moving Image (SOMI) is approaching its six-month preventive conservation changeover mark, where our team will be swapping out vulnerable objects to ensure their longevity, including costumes, paper objects and a suite of magic lantern slides. ACMI’s Registration team is working on treatments with Marion Parker and Objects Conservation Melbourne on the new objects, ready to be displayed in August 2021.
Our Exhibition Touring team recently hit the road again to install Cleverman at Gosford Regional Gallery. This was their first ‘in-person’ install after a period of delivering exhibitions remotely—a strategy that saw Head of Touring Anat Meiri and her team revising all of their regular documentation strategies and delivery modes.
The next phase in our preservation work with the Archiving Australian Media Arts (AAMA) and Play it Again 2 (PIA 2) ARC’s are underway. Led by Professor Melanie Swalwell in collaboration with partnering organisations, the PIA 2 ARC sees Digital Preservation technicians Ben Abbott and Mar Cruz with PhD candidate Caroline Choong and Digital Preservation expert Cynde Moya imaging, archiving and emulating Australian videogames from the 1990s. This builds upon the preservation work already achieved through the Play it Again I (ARC) that ensured nostalgic videogames such as Aussie Games and Way of the Exploding Fist were playable again.
Candice Cranmer (Collections), Serena Bentley and Fiona Trigg (Exhibitions) have conducted preservation interviews with Daniel von Sturmer for CATARACT (concrete) and Gabriella Hirst for her work Darling Darling. These newly acquired works, join ACMI’s ever-expanding time-based media collection and the preservation interview, recorded as auxiliary documentation, provides an invaluable roadmap for guiding future preservation parameters. Thanks to Basi Dabrowa (AGNSW) for also sharing the gilding process undertaken with Hirst for this work (also shown at AGNSW).
Jesse Dyer has joined the Collections team as the newly appointed Grimwade and ACMI Time-based Media Fellow. His research will focus on complex time-based media artworks that use game engines such as Unity™ in their creation and or function and he will also develop a suite of documentation strategies with GCCMC, GCS and ACMI around complex digital artefacts.
Above: Jesse Dyer and Mar Cruz imaging artworks and videogames in ACMI’s Blackmagic Design Media Preservation Lab. Image: Candice Cranmer
Above: Magic lantern slide before conservation treatment for SOMI changeover. Image: Megan Taylor
Grimwade Centre for Cultural Materials Conservation and Grimwade Conservation Services, The University of Melbourne
Academic programs: teaching and research
In the first six months of this year the Grimwade Centre has three PhD candidates who have finished and submitted their PhDs.
Leila Alhagh’s thesis on: Interdisciplinary approaches to the study of distanciated Islamic manuscripts: ‘Sad Kalamih [Kalima] Shah Vilayat (One Hundred Sayings by Ali): Manzumih [Manzuma] dar Hajj (Futuh al-Haramayn)’ – a case study, focuses on the volume MUL17 ‘Sad Kalamih Shah Vilayat: Manẓūmih dar Ḥajj’ in the Middle Eastern Collection at the University of Melbourne. Utilising qualitative data collection and comparative methodologies within an interdisciplinary approach to the study of distanciated manuscripts, Leila was able to expand methodologies that examine provenance, history, and meaning; provide new insights into assessing authentic bibliographical data and possible dates of production; and enable rich contextualisation of the life and beliefs of the author.
Following the completion of her PhD Leila undertook an internship at the State Library of Victoria, to catalogue and document the Michael Abbott Collection of South-east Asian Islamic Manuscripts. Leila has now graduated as Doctor of Philosophy.
Sophie Lewincamp’s thesis Tiered Contact Zones: A New Engagement Model for Cultural Materials Conservation explores how custodians and others with an interest in a collection, but from vastly different backgrounds and with different areas of collection knowledge or expertise, can best collaborate, share and construct knowledge with conservators who are working with them. Her research is formed by two major case studies: the Middle Eastern Manuscript (MEM) Collection at the University of Melbourne, and the Returned and Services League (RSL) LifeCare War Museum in Narrabeen, New South Wales. In exploring this subject, she has employed a tiered contact zone methodology as a way of understanding what processes are effective. She argues that contact zone theory presents a powerful tool for researchers and communities to design, develop and further their collaborations, for their mutual benefit.
Ainslee Meredith’s thesis on The public value of conservation in Australia: a social justice framework explores the ways in which cultural and heritage collections are linked to a wide range of social benefits. In doing so she explores what conservation expertise and skills might be needed to enable such benefits. She examines spatial inequity and the distribution of conservation resources across Australia, using a mixed-methods study of empirical mapping, critical discourse analysis, and case study interviews. Her findings demonstrate how the discrepancy between the value of these collections and their lack of access to conservation impedes their potential impact. Finally, she concludes that such inequity requires a policy-driven response.
Outreach projects: Conservation in the public eye
The Costume Lab, held in the historic Labassa Mansion, was a public engagement event aimed at showcasing the National Trust Costume Collection through the lens of conservation care and treatment. It was the first time for this kind of event for both GCS and the National Trust.
Conservators Jacinta Brown and Lisa Yeats were engaged to train and supervise a team of 15 emerging conservators undertaking conservation activities pertinent to the needs of the collection. Over ten days, members of the public could circulate through the sumptuously decorated rooms, which made a stunning backdrop for the conservation activities: collection surveying, rehousing, adhesive repairs, washing of whitework clothing, condition reporting, rehousing, and support making for the shoe collection. Several of the key dresses in the collection were rehoused during this time, allowing a rare viewing for the public. The key pieces are all voluminous silk creations, which showed both the beauty of the tailoring and the damaging effects that time and wear can have on silk. The remarkable collection was surveyed during the event for a preservation needs assessment, and it is hoped that the event has generated further interest in the growing 4000-piece collection and will result in further support for its conservation. We are very grateful to the National Trust and the emerging conservators who put in a tremendous effort to make this event such a success.
Above: The Costume Lab event. Photographs by Samara Clifford Photography
Port Fairy – Repair Café – Collection Care Day
On Saturday 13 March the Grimwade Centre ran a Collection Care community event in Port Fairy. Residents from the region had the opportunity to receive expert advice on how to care for their precious items and memorabilia. This project was a partnership between GCS, Moyne Shire Council and Port Fairy Community House.
Katy Glen and Cushla Hill were the conservation experts on hand for the day, ably assisted by first-year master’s students Hayley Nolle and Johannah Lamond-Hallett. After a general presentation that covered practical tips on how to care for a wide range of collection materials, one-on-one consultations were offered, allowing people to receive specific advice for their objects. The event was well attended by individuals with family heirlooms, private collectors and representatives from community organisations.
An impressive array of objects was presented, including a well-loved (1st edition) book of fairy tales, historic family photographs, textiles including a 1950s formal dress, incredible 19th century clothing and a handmade wedding dress, a decorative pot from Papua New Guinea and a carved coconut! One of the aims of the project was to create a community engagement activity after a period of social isolation and COVID-19-related anxieties and restrictions. The buzz of enthusiasm amongst the participants, and the presenters, throughout the day indicated that this was achieved. Stories were shared and discussions took place about the responsibilities involved in being the custodians of family heritage. It is hoped that this important task will be helped by the information and resources shared throughout the day, as well as the spark of community connections.
Lockdown has been hard for many of us. Small museums and historic buildings are no exception. Cook’s Cottage, in Melbourne’s Fitzroy Gardens, is one example of a small museum that suffered a pest problem due to the closing of its doors throughout most of 2020.
Built in 1755, Cook’s Cottage has been a Melbourne icon since 1934. Originally located in Yorkshire, England, and built by the parents of Captain James Cook, the cottage was brought to Melbourne by Sir Russell Grimwade in 1934.
In March 2021, a small team of masked conservators – Bernadette Collins, Imogen Colten, Katherine Topp, Lisa Yeats, Evan Tindal and Sophie Lewincamp – braved the piles of stagnant dust with side scattering of mouse poo … pause for dramatic effect … but, seriously, had to address the problem at hand. It was a rewarding and cathartic experience (especially after prolonged lockdown), returning wooden furniture and metal artefacts to their original lustre. The team also refreshed interpretive displays in preparation for reopening. Cook’s Cottage, Fitzroy Gardens, is a treasure trove of artefacts, well worth a visit, and the kitchen garden is amazing.
In general news, we welcome new staff to our commercial services team. They are:
- Lisa Yeats—Assistant Conservator, Objects and Textiles
- Camielle Fitzmaurice—Conservator, Paper and Photographs
- Jessica Walsh—Graduate Conservator, Paintings
- Sophie Lewincamp—Projects Conservator
- Jesse Dyer—Grimwade and ACMI Time-based Media Fellow
The ICS Melbourne team recently undertook maintenance work on the marble sculpture collection at Ballarat Botanic Gardens. The team enjoyed the idyllic surrounds and was encouraged by the genuine interest in their work from the visiting public.
Objects conservators Kristine Allinson and Bruno Bell have been working on two archaeological assemblages excavated on King Street. Large quantities of artefacts were uncovered from the sites, which were formerly the location of a girls’ schoolhouse and a grocer’s store.
Bruno Bell has also been working on a number of projects for the State Library of Victoria, including the suit of armour worn by Ned Kelly, the surveyors’ chain reputedly used by Robert Hoddle in laying out Melbourne, the brass bed from Vali Myers studio, and the brass plate bearing the initials of Robert O’Hara Burke and William John Wills, which was once attached to the box bearing their remains.
ICS Melbourne has worked closely with ICS Sydney to treat a collection of water-damaged artworks and frames from Beleura House and Gardens. The team effort will see Sydney Paintings Conservator Eden Christian seconded to Melbourne where she will work beside wood, stone and decorative surfaces conservator Katie Smith.
Katie is also working with textile conservator Marion Parker on a Victorian quilt constructed using military uniforms.
National Gallery of Victoria
Conference, industry and engagement news
Senior Conservator of Frames and Furniture Holly McGowan-Jackson, Paintings Conservator Raymonda Rajkowski and Coordinating Conservator MaryJo Lelyveld presented at the (virtual) 19th ICOM-CC Triennial Conference hosted by Beijing. Raymonda and Holly presented their paper ‘Reflections and transflections on gilding: A preliminary investigation of coatings on gilded picture frames’ as well as a live Q&A panel session, where conference participants ask questions of authors through a moderator. MaryJo co-presented her paper with Dr Joel Taylor from the Norwegian Institute for Cultural Heritage Research on ‘What do we talk about when we talk about “future generations”?’
The Conservation team held its first webinar for the Public Galleries Association of Victoria (PGAV). Focusing on conservation of paper-based works, this is part of a series of monthly ‘Material Speciality’ and ‘Advancements in Collection Care’ webinars being offered to PGAV’s 50-plus members plus affiliates throughout 2021 by the NGV Conservation department.
Interns from the University of Melbourne Cultural Materials master’s course were hosted across the Paper and Photography, Paintings and Exhibitions Conservation studios. These placements are an invaluable opportunity for skills transmission between senior professionals and emerging conservators. A few of these internships have been cut short or put on hold for now but we look forward to welcoming back their intelligent rigor and engaging company in the coming months.
Above: University of Melbourne intern Peter Dellas working on Augustus John’s White Prímula in NGV Painting Conservation. Courtesy of National Gallery of Victoria Conservation department.
The Getty Conservation Institute has loaned the department highly sophisticated acoustic emissions monitoring equipment, which will be used in a research partnership to better understand the physical stressors and dimensional change that occurs on historical panels when transitioning to wider temperature and RH collection environment settings. Practical sessions run via Zoom have enabled Associate Director, Conservation, Michael Varcoe-Cocks and Paintings Conservator Caitlin Breare to test the equipment and allow scientists from the Getty to remotely monitor its performance.
Through the ongoing coordination by Conservation Project Officer Jessica Lehmann, the Conservation team continues to contribute to NGV online learning, audience engagement and social media outreach through a range of projects including: Online Course: Colour; Creativity Matters; and articles and submission for NGV magazine and social media. We contributed a ‘Museum Mystery’ post for Mother’s Day and also shared some recent highlights in stories including the conservation and making of a frame for Thomas Clark’s Upper Falls on The Wannon, and blind embossing and reflectance-transformation imaging, all of which can be viewed on the @ngvmelbourne story highlights. The colour course has been the most popular NGV online course ever run, and the first our team has been involved in—it is great to see the community responding and engaging with conservation stories.
Hello from Victorian lockdown 4.0 (or is it 5.0? 17.0?), although nonetheless a disappointing situation to be in. At least we know how to respond to the situation and take it one isolated day at a time … Pre the ‘stay at home’ orders we were in full swing of an action-packed few months. Exhibition conservators have condition reported for the next exhibition in the Melbourne Winter Masterpieces series, which was due to open in the first week of June, as well of a mix of in-person and virtual condition reporting for the She-Oak and Sunlight: Australian Impressionism and TopArts exhibitions (both open to the public) and the upcoming Camille Henrot exhibition.
Above: Exhibitions Conservator Janelle Borig preparing the TopArts mannequins for display. Courtesy of National Gallery of Victoria Conservation department.
The Conservation team has been involved with the maintenance, deinstall, and packing of works for the Triennial, including the low-temperature pest treatment of Buttpus by Porky Hefer coordinated by Frames and Furniture Conservator Suzi Shaw, and preparation of works for We Change the World, Maree Clarke and History in the Making.
In the Paintings studio the examination and display preparation on the newly acquired painting by Berthe Morisot has been undertaken. This is the first work by Berthe Morisot to enter an Australian collection, and the first work by a female French Impressionist artist in an Australian collection. Major painting treatments have commenced on El Greco’s Portrait of a Cardinal and a newly acquired portrait by Marie-Victoire Lemoine.
Over three days in April, painting conservators were involved in the delivery of separate shipments of Boston MFA Impressionist crates from Sydney to Melbourne. Reporting back was that it was a bonafide luxury to traverse in a different city, though only briefly in Sydney, and it wasn’t unlike a whirlwind trip to Paris resplendent with a croissant on the River Seine …
The Paper and Photograph studio has contributed to the outgoing loans program, including treatment and preparation for 27 paper-based works of art for Tasmania Museum and Art Gallery’s exhibition Paradise Lost: Thomas Griffiths Wainewright. Treatment involved stain reduction, repair and retouching.
Paper Conservator Louise Wilson shared her insight into a specific book from Russia, the Rodchenko and Stepanova USSR in Construction. It has signs of wear showing the history of use, and a central foldout which is a wonderful example of paper engineering, cutting-edge for the time yet in keeping with the content of the book. It has all the signs of a book that has been engaged with and enjoyed, a beautiful idea to think about the living history of works. Click here to watch the video
Amazing works are being examined in the Paper and Photography studio. Photograph Conservator Pip Morrison has been investigating some Ruth Hollick hand-coloured photographs, which arrived from Scotland. This new acquisition is a small album the artist compiled herself of Australian wildflowers and is very beautiful with amazing colours!
Above: Photograph conservator Pip Morrison condition reporting the newly acquired Ruth Hollick works. Courtesy of National Gallery of Victoria Conservation department.
Above: Photograph conservator Pip Morrison condition reporting the newly acquired Ruth Hollick works. Courtesy of National Gallery of Victoria Conservation department.
Senior Paper Conservator Ruth Shervington and Louise have been getting up close and personal with Goya’s works in prep for the upcoming exhibition, including researching the subtleties of Goya’s printmaking techniques and his choice of papers.
Above: Paper conservators Ruth and Louise looking closely at a Goya print. Courtesy of National Gallery of Victoria Conservation department.
Textiles has been continuing work on the Murdoch Crewelworks, welcoming Elizabeth Murdoch’s granddaughter into the studio to look at the progress of the work. Textiles Conservator Di Knight has definitely taken the research down the rabbit hole, discovering that despite the works coming from Cruden Farm, it’s possible they were originally sourced for Heathfield, a grand mansion in Toorak that the Murdoch’s acquired from the Baillieu family. Textiles Display Technician Ellen Doyle has finished the last of the photography needed for the upcoming blockbuster Chanel show. Treatment also continues on an 18th-century bedcover with ‘bizarre’ embroidery motifs.
Above: Detail of England bedcover (c. 1710) after textiles conservation treatment. Courtesy of National Gallery of Victoria Conservation department.
Above: Textiles conservators Di and Kate working on the Murdoch curtains treatment. Courtesy of National Gallery of Victoria Conservation department.
Objects conservation and the mount-makers have been preparing countless object loans and manufacturing mounts for exhibitions at the Australian Centre for Contemporary Art, Geelong Art Gallery and City Gallery (Melbourne).
Some newly acquired works including a group of Sevres figures and a Frank Lloyd Wright window have required treatment by Objects Conservator Trude Ellingsen and Senior Conservator of Objects Marika Strohschnieder, respectively.
Trude wrote a NGV Channel essay on her conservation treatment of Les Kossatz’s Hard Slide.
State Library Victoria
Collection Care staff have recently featured in a series of short behind-the-scenes videos called the ‘Library Files’, accessible through the State Library’s website and social media channels. Most recently, Jessye Wdowin-McGregor and Emily Keppel demonstrated the rehousing and supporting of textiles from the Irene Watkins collection (YMS 16287). The next one in production features Katrina Ben talking about the World of the Book exhibition and Ian Cox making a giant book cradle at speed.
We are excited to share that Jessye Wdowin-McGregor has accepted an ongoing role as Preservation Technician in the Preservation Team. We are also pleased to announce that Christine Mizzi, who was employed as a Preservation Technician on a short contract, has been extended until the end of October.
Since reopening, we have had a steady stream of tours passing through our spaces and it’s always rewarding to see a high level of interest in our work. In Preservation, tour groups have been particularly interested in the rehousing solutions for such items as World War I medals and ephemera, scrapbooks, diaries, and original photo albums, with many of the participants greatly surprised about the diversity of the Library’s collections.
In April, the Conservation Department hosted second-year paper conservation students from the Master of Cultural Materials Conservation course at the University of Melbourne. This included a morning with Marika Kocsis learning about Japanese paper and the care and maintenance of Japanese tools. The students also spent a day with the book conservators learning about book structures, followed by a workshop on custom phase boxing.
Above: Botanical specimens from ledgers in the Records of Mona Vale Station (YMS 16337). Source: Manuscript Collection, State Library Victoria.
- Preventive conservation – environmental monitoring
Over the last year, Leah Williams has been busy expanding our environmental monitoring program and installing over 80 data loggers throughout our collection areas, both on and offsite. Our new environmental monitoring is a combination of stand-alone Hobo data loggers and a cloud-based Saveris 2 system in the areas we have wireless. The new equipment provides us with accurate, detailed and continuous environmental data across all our collection areas. The most recent data loggers are in the new display case for Ned Kelly’s armour, and there will be a new external logger installed outside to help us determine the influence of external conditions on our internal environment.
We are very interested to hear from any others who have also installed an external data logger to gather data, and anyone who is using Conserv for environmental monitoring or IPM.
George Matoulas continues to manage our custom boxing program, producing boxes for a myriad collection items. Some beautiful 18th century volumes have been thoughtfully boxed to maintain the integrity of the collection as a whole and ensure maximum storage efficiency.
Other Preservation projects involve a diverse array of materials and formats. Recently, Kate Holloway found beautiful botanical specimens interleaved amongst the pages of ledgers from the Records of Mona Vale Station (YMS 16337) while vacuuming the collection in quarantine. Savina Hopkins continues work on the large Vali Myers Archive (LTRE 775), determining packaging solutions for tables, chairs, shoes, and other objects, while Jessye Wdowin-McGregor continues rehousing a range of textiles from the Reis Family Papers (YMS 16251), including priest vestments and related accessories.
Above: Lettres Historiques et Galantes by Madame du Noyer, 1790 (RAREWK 994.033 D9231L). Source: Rare Books Collection, State Library Victoria.
Marika Kocsis recently completed a condition survey of 165 architectural drawings of Melbourne’s St Paul’s Cathedral (H2020.37) by the English Gothic Revival architect William Butterfield (1814–1900), ca. 1880s. The drawings are notable not only because they are created to scale (resulting in some extremely large drawings!), but also because the architect did not leave England, instead conveying the plans to Melbourne by ship. The paper conservation team has now begun the process of stabilising the drawings for digitisation and looks forward to uncovering the incredible architectural details. The pilot program to survey and commence treatment has been generously funded by the Vera Moore Foundation.
Meanwhile, the book conservation team has been busy investigating methods to enhance its leather paring processes. On advice of Gervais Battour from the NGV, we recently invested in a Tormek water-cooled knife sharpener to hone the paring knives. We welcome any questions or comments if others are interested in this equipment!
Above: Cleaning and stabilising a to-scale window jamb plan for St Paul’s Cathedral by William Butterfield (H2020.37/132). Source: Pictures Collection, State Library Victoria.
Albertine Hamilton is currently investigating a collection of iron-gall ink drawings by Indigenous artist Tommy McRae (c. 1835–1901) with the aim of facilitating future conservation and preservation activities. The drawings comprise a range of formats—from single sheets to sketchbooks, bound and dis-bound, in varying states of deterioration. Albertine is keen to hear from anyone with previous experience working with similar materials.
As the Library is tentatively returning to full capacity following 2020 COVID-19 restrictions, we were excited to see the Changing face of Victoria exhibition finally open. Installation of this exhibition was completed just prior to the Library shutting in March 2020. With some minor conservation adjustments, the exhibition has stayed in sleep mode until now.
In April the Ned Kelly armour returned to permanent display in the South Rotunda, which though beautiful does not meet environmental standards. To provide a long-term stable display environment we engaged European Museum Technology (EMT) and installed a display case with an active humidity control unit (MiniClima), and monitored with the new Testo Saveris data loggers. While off display, the armour was fully documented and condition reported.
Above: Exhibition, Registration and Conservation staff complete the relocation of Ned Kelly’s armour (H20171) and rifle (H2002.136) in the South Rotunda. Source: Pictures Collection, State Library Victoria.
Conservation continues to contemplate the display and storage of an unusual oversized knitted celestial map called Stargazing, recently donated to the Library. This work by Sarah Spencer is scheduled to go on display in Victoria Gallery in early 2022. Measuring 2900 x 4400mm, the three-colour machine-knitted double jacquard tapestry captures 88 constellations across the hemispheres, including the Milky Way, and will be lit by over 1000 tiny LED lights attached to a programmable circuit board. It poses some interesting preservation and display questions!
The Registration team recently dispatched two paintings for display in Archie 100: A Centenary of the Archibald Prize at the AGNSW, after which they will tour for three years to eight venues, nationwide. To prepare for the loan, Portrait of Archbishop Mannix by Max Martin was treated by external painting conservator Helen Gill and then fitted with a custom display mount that will enable the double-sided painting to sit on a plinth and be viewed from both sides. Mr Georges Mora by Caroline Williams was refitted with a cam-lining by Jarno Coone and Jane Hinwood to provide extra support to the canvas throughout its extensive tour.
There has been little to celebrate with COVID, but the explosion of online conferences, webinars and training opportunities has been one of the few small boons, especially for us here in Australia. Our book conservators recently attended the University of Copenhagen’s 18th Seminar on the Care and Conservation of Manuscripts, conducted online for the first time. For further information, please see Bonnie Hearn’s review.
The Art Doctor
New private conservation business open in Victoria, sharing suppliers and stockists of some hard-to-find essentials.
Cash Brown BFA, MCMC
The lockdowns we endured in Victoria during 2020 allowed time for reassessment and reflection for many of us. The lack of employment opportunities, and inability to continue to travel for work, prompted me to take the plunge and launch The Art Doctor, a small conservation business based in Sorrento on Victoria’s Mornington Peninsula, specialising in easel paintings, painted objects and digital preservation of photographs and documents. I am fortunate that a friend and former colleague was opening a contemporary art gallery close to my home and offered a place for me to set up a lab nestled inside the gallery. This is wonderful for exposure and advocacy and forms a symbiotic business relationship and an environment where I am not alone all day, which is an important consideration for health and safety.
A thorough business plan and budget, assisted by Job Keeper payments, supported establishment costs, and I am thrilled with the investment in quality equipment which will serve me well for the rest of my career. There was a lot of frustration in trying to source much of the equipment and many of the materials, while others were straightforward. Sourcing components for the Modular Cleaning Program has taken a lot of time but was well worth the effort to set up such a comprehensive set of materials. The ‘Modular Cleaning Program in Practice’ Facebook group is a fabulous place to get help when you need it and to help others.
I would like to share my sources in the hope that it saves colleagues in the profession time and money. I am grateful also to professional colleagues for allowing me to purchase small quantities of their stocks that are either currently unavailable from national and international suppliers or impossible to import, including Laropal A81, Beva gel and Pemulen TR2. Archival Survival is wonderful for bringing in materials from Talas – I only wish I had known this earlier and could have saved a small fortune on freight. I have also included a few useful publications, which can be downloaded, and even my public liability and professional indemnity insurance provider in the table below. There are many more items of course that were purchased to set up the lab, which are mostly eBay and hardware-store lines and too numerous to reasonably list. I still cannot access any cyclododecane in small quantities; can anyone help?
Equipment and consumables sources 2020-2021
|MS3, Paraloid B-67, ethylcellulose, ShellSol D, plasticiser, preservative (equivalent of Germaban for aqueous solutions spoilage prevention), Gamsol and ground pigments including lapis lazuli
||St Luke Artist Colourmen (Melbourne)
|Tengucho Kozo Tissue 64 x 97 cm 9 gsm
||Caulfield Art Supplies
||Wooden Boat Shop, Portsea, Victoria
|xylene, butan-1-ol, 32% HCl, ammonium hydroxide 20% solution, sodium hydroxide 0.1M, trimethylpentane, acetone, diacetone alcohol, triacetic acid (HEDTA), abietic acid, propan-1-ol, Brij 35 solution, benzyl alcohol, trimethylpentane, pipettes and reagent bottles
|ShellSol T, ethanol, methanol, n-methyl pyrrolodine (NMP), propan-2-ol, ShellSol D 60
|tris, deoxycholic acid, DTPA, Surfonic JL-80X, Ethofat 242-25, bicene, Lascaux welding powder and Temart fixing plates
||Museum Services Corporation (USA)
|Selvol E 107 PVOH, Cosmoloid 80H, Beva 371, Gamblin Conservation Colors, glass microballoons, Beva Gesso-P (Fine Texture), Methocel A4, methylcellulose, Aquazol 200 and 500, Tinuvin 292, Regalrez 1094, sturgeon glue, Ethomeen C25 (C12 cannot be imported as it is classified as dangerous goods)
||Talas via Archival Survival. You will need to go onto the Talas website and get the name of product and SKU – then contact Archival Survival with your order. Note some goods are classified as dangerous and cannot be freighted.
|The Handbook of Solvents
|Nanoscience for the conservation of works of art, RSC nanoscience & nanotechnology 28
|Gels for the Conservation of Cultural Heritage
|Gels for the Cleaning of Works of Art
|low mass hot suction table, non-contact IR heat tool and controller unit, suction platen
||RH Conservation Engineering
|90X boom arm trinocular simul-focal stereo microscope + HDMI camera Barlow lens, LED light ring
|professional indemnity and public liability insurance
||Flying Arts Inc.