GRENADA LEDGER OF ACCOUNTS OF PERSONAL AND ESTATE EXPENSES, 1852-1854
|
ABSTRACT
The Grenada Ledger of Accounts of Personal and Estate Expenses is very useful for researchers interested in the study of capital expenditure of sections of the Grenadian population in the mid-nineteenth century. The Ledger gives an idea of prices, cost of living, monies paid in and out and the balance remaining. Additionally, the Grenada Ledger of Accounts of Personal and Estate Expenses reveals the consumerism and purchasing power of a portion of the Grenadian populace. As such, the Ledger of Accounts and Personal Expenses will prove especially useful for persons studying Grenada’s economic and social history.
This document is listed on the Caribbean Memory Register: Grenada modeled on UNESCO's MOW. LOCATION OF DOCUMENT
IDENTITY AND DESCRIPTION OF THE DOCUMENTARY HERITAGE
Description and inventory: There is only one volume Grenada Ledger of Accounts of Personal and Estate Expenses and it contains 164 pages. It includes the accounts of Revolution Hall Estate, Dougaldston Estate and Gouyave Estate. Each entry in the Ledger gives the date, nature/who/why of payment and the total expenditure further down. The top of the page, which is the title section, gives the name of the owner, attorney or overseer. Essentially, the Ledger is organised like any other account book.
The Ledger of Accounts of Personal and Estate Expenses enumerates the things purchased by individuals for their comfort and routine estate items. Personal items include silk stockings, sherry wine, lace and shirts. Estate items include nails, bricks, powder and cane hoes.
Bibliographic details:
The bibliographic details of the Grenada Ledger of Accounts of Personal and Estate Expenses are housed within the card catalogue at the Special Collections and Conservation Dept. of the National Library. The Ledger is filed under MS 129.
Visual documentation if appropriate:
Currently, there are no visual representations of the Grenada Ledger of Accounts.
History of the document (Provenance):
The history of the Ledger of Accounts and Personal Estate Expenses is presently unknown. However, the document held in trust for the Grenada National Archives and its people. JUSTIFICATION FOR SUBMISSION
Influence
The Grenada Ledger of Accounts of Personal and Estate Expenses is quite useful for person studying estate expenses. Agriculture was important to Grenada’s economy during the mid-nineteenth century. Estates were owned by the mainly white ruling class who exerted great influence over Grenada’s political and economic development. The main crops included sugar, coffee and spices such as pimento. The Ledger contains the personal expenses of these whites and the expenditure of their estates. A study of the Ledger would give insight into their lifestyle and plantation management.
Time
The Ledger of Accounts of Personal and Estate Expenses spans 1852-1854 and covers a section of the colonial era of Grenada’s history. Additionally, the date coincides with the maturity of the Sugar Duties Equalisation Act which came into being in 1846. By 1854, the effects of the Sugar Duties Equalisation Act were felt all over the Caribbean and Grenada was no exception. As such, the Ledger would allow for a useful study of the cost of living and the profit/loss of the estates in Grenada during this period.
Place
The Ledger of Accounts of Personal and Estate Expenses covers the island of Grenada.
People
The Ledger of Accounts of Personal and Estate Expenses deals mostly with the white and wealthy persons of Grenada in the mid-nineteenth century. These persons were the ones who controlled the wealth and society of Grenada and as such were very influential. The Ledger reveals their purchasing habits and power.
Subject and Theme
Persons interested in the social, economic and political histories of Grenada will find the Ledger of Accounts of Personal and Estate Expenses useful. Additionally, those interested the evolution of consumerism and popular culture/taste will likewise utilise the Ledger.
Form and Style
The layout of the Ledger is useful for paleographers interested in comparing account styles throughout history and the world. LEGAL INFORMATION
Accessibility The Ledger of Accounts of Personal and Estate Expenses is available to members of the public for consultation, in particular, researchers and academics. Sadly there seems little chance of ever seeing this document online as there are no plans to protect this asset by digitising its contents and making it available to all electronically.
Copyright Status
Public Domain ASSESSMENT OF RISK
The Grenada Ledger of Accounts of Personal and Estate Expenses is in good condition.
The National Library of Jamaica are the current custodians of this document which is held in trust for the Grenada National Archives and its people. CONSERVATION MANAGEMENT PLAN
The Special Collections and Conservation Dept.
has undertaken the task of rebinding and de-acidifying the Ledger.
Additionally, patrons are required to use gloves provided by the
National Library when examining the Ledger.
DETAILS OF PERSON/ENTITY MAKING SUBMISSION
FURTHER REFERENCES In 1989 a dealer, Charles Apfelbaum, made an aquisition of Grenada Plantation Records dating from 1737-1845 for the Schomburg Center for Research in Black Culture on behalf of the Manuscripts, Archives and Rare Books Division, The New York Public Library. These documents are in the repository of Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division. Location Sc MG 383. Happily for the National Grenada Archives and the Grenadian People and Caribbeans world wide the entire collection of 517 images has now been digitized and is available online at Digitalcollections.nypl.org. |
Showing posts with label Conservation. Show all posts
Showing posts with label Conservation. Show all posts
10 May 2013
1 Dec 2012
Where are the Original Seized Grenada Documents?
Two interesting new developments related to documents seized by U.S. forces when the invaded Grenada in 1983 during their "Operation Urgent Fury" - one is a fully declassified National Security Directive newly available online and the second are meeting notes recently obtained via FOIA that indicate that at least some original documents from Grenada remain at the U.S. National Archives.
Despite these possible explanations, the notes nevertheless raise some interesting questions that would profit from clarification. If anyone has additional information about original Grenada documents in the U.S. or the fate of those returned to Grenada, I'd be grateful to hear from you.
(1) Reagan's Fully Declassified National Security Decision Directive No. 112 Now Available Online
The new, fully declassified version of a November 1983 National Security Decision Directive signed by President Ronald Reagan called "Processing and Disposition of Documents Acquired by US Forces in Grenada" that is now available online from the Federation of American Scientists here.
An earlier redacted version that has been online for years (available here) already provided an interesting illustration of the breadth of issues for which the US thought captured documents from Grenada would be relevant. The three paragraphs that were redacted in the earlier version, but which are available now, relate to the following issues:
First, is the issue of U.S. classified documents found among the documents "captured" in Grenada:
It has been suggested that this may have been redacted because the documents could present special sensitivities as they may be relevant to counterintelligence investigations, including the possibility that someone within the U.S. government had provided access to them. A related issue came up when the interagency intelligence exploitation team -- assembled pursuant to Reagan's directive -- submitted its initial evaluation of the captured documents in December 1983. In the last paragraph of a cover memo (available here) from Robert Gates (then Chairman of the National Intelligence Council), to Robert MacFarlane (then Assistant to the President for National Security Affairs), Gates noted:
Mr. Roy Godson of your staff informed us that there was great interest in the "American" connection to the documents. We have discussed this with the FBI liaison contact and propose that you task the Attorney General directly with pursuing this issue. We do not think a discussion of the involvement of US citizens in Grenada should be included in any paper prepared by the Intelligence Community.
The initial version of the "Interagency Intelligence Assessment" enclosed with that memo entitled "Grenada: A First Look at Mechanisms of Control and Foreign Involvement" is here and a later updated version from August 1984 is here (both courtesy of the CIA FOIA reading room).
Second, there is a previously redacted paragraph dealing with topic of forensic examination of the "captured" documents including even, of all things, the type of paper and ink used:
This provides another example of a situation in which copies of captured documents are inadequate substitutes for originals. As discussed in an earlier post, the forensic exploitation of captured documents and media has been made increasingly important over time. See, as an example, this FBI Laboratory report from 2008 about documents seized from Afghanistan.
Third, the final, previously-redacted paragraph relates to the question of returning the documents:
The issue of the return of the documents leads to the second development . . .
(2) Original Seized Grenada Documents Still at U.S. National Archives?
The original documents seized from Grenada were supposedly returned to us here in Grenada long ago. No less than The Guide to Federal Records in the National Archives of the United States expressly states in a note in RG 373: "The original Grenada documents have been returned to the Grenadan government" (microfiche copies are in RG 242). There has been a bit of a mystery about what happened to them upon their return - see, for example, the Grenada Revolution Online's informative page on the documents here which states:
Rumor at one point put the original Grenada documents in Grenada around August 1985 and housed at Police Headquarters. Since that time was the damaging passing over Grenada of Hurricane Ivan, 7 September 2004. The location, condition and accession of the original Grenada Documents remains obscured, to say the least.
Given this, it came as quite a surprise when recently received documents via FOIA included notes from recent meetings involving the National Archives that contained notations such as this:
and this:
which appear to indicate that there are original Grenada records at Archives II in College Park. The note "why are the originals here" even suggests some surprise on behalf of the undisclosed notetaker.
To be clear, this is not necessarily inconsistent with the return of most, if not almost all, of the originals to Grenada. The notes above could perhaps be referring to a small number of documents that may have been withheld from the original return -- possibly for some of the same reasons the passages in Reagan's directive had been redacted or based on other "national security" concerns. There is also a State Department records schedule, N1-353-90-3 (available here), related to a "Grenada Task Force" that identifies "3-4 feet" of captured documents (perhaps original) that were transferred to NARA, which could provide another explanation:
Despite these possible explanations, the notes nevertheless raise some interesting questions that would profit from clarification. If anyone has additional information about original Grenada documents in the U.S. or the fate of those returned to Grenada, I'd be grateful to hear from you.
18 Oct 2012
Planning to Constructing a Book and Paper Conservation Laboratory?
 |  |
 |  |
 |  |
In 2002, the Preservation unit at the Special Collections was established at Brooklyn College which is the only CUNY institution to have both a conservator and a conservation laboratory.
 |
It was in 2005 that Special Collections of The Brooklyn College Library received its grant of $300,000 to expand and build a Book & Paper Conservation Laboratory, completed with additional conservation equipment by the end of 2008.
 The Preservation Laboratory is responsible for the care of all paper-based materials in the Special Collections, including books, maps, manuscripts, posters, photographs, personal letters and documents. Conservation activities include dry-cleaning, washing, deacidification, mending, rebinding, pamphlet binding, encapsulation, paper repair, construction of protective enclosures, including several types of boxes, and tape removal. The Conservation and Preservation Laboratory monitors the temperature and relative humidity in the Special Collections and throughout the library. |
Conservation Lab Opening
New Conservation Lab Saves Printed Matter
| "The addition of the Conservation Lab will contribute to the preservation of the library’s precious holdings and benefit students as well as faculty." |  Polishchuk shows Mylar-preserved book pages to Professor Irwin Weintraub of the Library (center) and Provost Tramontano. |
Polishchuk restores bindings and covers of books—some of which are four-hundred-year-old—to resemble their original form and creates slipcases for fragile, fine, or fantastic volumes. With a custom-designed space, at least five times as large as his former atelier, he will be able to work on more projects at a time—not only books, but photographs, maps, and posters, which can be washed clean in a bathtub-size sink and dried on special racks. If books cannot be saved, Polishchuk seals their pages in Mylar. "You lose the book as an object," he said, "but the information is still accessible."
 Polishchuk with former NYS Assemblywoman Adele Cohen. | An additional, if immaterial, way to preserve records, is now feasible. With the recent donation of a huge adjustable bed scanner, the lab can image photographs or books of any size. Soon a selection of the collections will be online. Since the material may not be removed from the library, Internet access will benefit scholars everywhere. "It will democratize the archive," said archivist Marianne LaBatto. |
To leave a legacy, the lab will do more than repair the collection. "The Conservation Lab will afford the opportunity to offer students enrolled in our interdisciplinary Archival Studies and Community Documentation (ASCD) minor a comprehensive course, cum workshop, in book and paper conservation".
"Generally, such a concentration is available only to graduate students seeking library master’s degrees or certificates in archival management, but this is the first to offer this specialized course of study to undergraduates."
There is a short guide available giving some advise on Planning and Constructing Book and Paper Conservation Laboratories, which is edited by Jennifer Hain Teper and Eric Alstrom.
The first book of its kind to be written on this topic with contributions from thirteen conservation professionals.
Overall, this book contains practical and technical advice for establishing, remodeling and updating book and paper conservation labs. Although the book is targeted to institutional book conservators, many of the chapters—especially Design and Layout, Water Purification, Lighting, Ventilation and Exhaust, Ergonomic Considerations for Equipment, and Considerations for Private Book Labs—are likely to be of use to private practice book conservators and bookbinders.
Chapter ten specifically deals with the challenges of smaller or private practices, and includes many practical tips on evaluating and procuring used tools and equipment. It also discusses the pros and cons of industrial, store-front and home-based labs. It tends to view private practice labs as more personal than institutional ones, but they should present a professional image to the public which reinforces the ethical, conscientious conservation services performed within them. Additionally, it offer advice for fitting a fully outfitted lab into a small space. Much of the information in the chapter can be applied to book conservation labs and binderies.
Contents: (chapters 1 and 7 are available free)
- Project Management for the Construction of Conservation Laboratories- Donia Conn
- Design and Layout- Eric Alstrom
- Special Collections, General Collections, and Hybrid Conservation Laboratories-Whitney Baker
- Water Purification and Treatment- Jennifer Hain Teper
- Lighting- Diane Vogt-O’Connor
- Laboratory Ventilation and Exhaust Systems- Laura McCann and Kristen St. John
- Custom-Built Furniture and Equipment- Shannon Zachary and Gillian Boal
- Ergonomic Considerations for Furniture and Equipment- Heather S. Caldwell
- Quarantine and Segregation Rooms- Ramona Duncan-Huse
- Special Considerations for Private Book Conservation Laboratories- Jeffrey S. Peachey
- Special Considerations for Paper Conservation Laboratories- Claire Hoevel
This book can be purchased from the American Library Association store.
Planning and Constructing Book and Paper Conservation Labs, Edited by Jennifer Hain Teper and Eric Alstrom. 230 pp, Published by ALCTS, 6 x 9″, Softcover, ISBN-13: 978-0-8389-8601-1, $67.95, 2012.
18 Jan 2012
Become a Conservator
The Grenada National Archives hopes with the new Library facilities being built within the University of the West Indies Grenada Campus in 2013, that we shall be able to realise a long awaited dream of to become renowned as a foremost forerunner in the field of Document Preservation and Conservation. We hope to be able to offer courses at the new campus and train anyone from around the world in this exiting and developing field.
Apprenticeships and Internships
Elsewhere, before the establishment of graduate degree programs in conservation, apprenticeships were the primary method of training, and apprenticeships and internships continue to be an excellent source of education and training. Today, graduate education has become the more recognized route into the profession. A traditional apprenticeship refers to an in-depth, long-term training period. A student may elect to pursue a traditional apprenticeship or series of apprenticeships as an alternative to a graduate program. This approach often takes longer than a degree program to acquire comparable education. To acquire a complete conservation education, the student must supplement practical training with readings, course work, and research.
The term internship refers to workplace training at any level of a conservator’s development. Introductory level internships, often referred to in the profession as pre-program internships, help prepare individuals for more advanced study. Graduate internships are part of a degree program curriculum.
Graduate Programs
Graduate degree programs generally require two to four years of study. For example, North American education programs in the conservation of cultural property offer either a master’s degree in conservation or historic preservation or a master’s degree in a related discipline along with a certificate or diploma in conservation. These programs require four to six semesters in residence (or the equivalent) and may also require summer internships. Many of these programs require a full-time, internship in the final year in which students work under the guidance of experienced conservators.
Many graduate programs, like the ones we hope to develop, require the fulfillment of academic prerequisites, including courses in chemistry, in the humanities (such as art history, anthropology, architecture, and archaeology), and in studio art. Potential candidates should contact the programs directly for details regarding prerequisites, application procedures, and program curriculum. In addition to required course work, graduate programs strongly encourage students to obtain some conservation experience, which can be gained through an undergraduate introductory internship or fieldwork. Appropriate experience may include conservation work in regional, institutional, or private conservation laboratories.
More Information on Getting Into a Graduate Conservation Training Program>>Many programs also require a personal interview in which candidates are usually asked to present a portfolio of art and conservation project work that demonstrates manual dexterity and familiarity with techniques and materials.
A limited number of Ph.D. programs have also been established for advanced study in conservation to prepare conservators with an interest in pursuing research in conservation or fields related to conservation.
Study Abroad
Degree programs, internships, and apprenticeships abroad offer excellent opportunities for students to explore a wider variety of education and training. Students may expect to encounter somewhat different philosophies and procedures. ICON maintains listings of programs in the UK, and ICCROM maintains an international listing of programs worldwide.
Listings of programs in the United Kingdom>>
Listings of international listing of programs worldwide>>
Post Graduate Education and Training
Many conservators have cited post-graduate fellowships as a valuable experience in their professional development. Such fellowships allow intensive research and practice or exposure to diverse professional staff or significant collections.
Continued Professional Development
Due to rapid changes in each conservation specialty, practicing conservators must keep abreast of advances in technology and methodology. Their knowledge and skills are expanded through reading publications, attending professional meetings, and enrollment in short-term workshops or courses. It is the responsibility of each conservator to take advantage of such opportunities and to contribute to them.
Undergraduate Prerequisites
Prerequisites for admission to graduate conservation programs include undergraduate coursework in science, the humanities (art history, anthropology, and archaeology), and studio art. Some schools consider previous working experience and gained expertise in conservation practice. Specific admission requirements differ and potential candidates are encouraged to contact the programs directly for details on prerequisites, application procedures, and program curriculum. With careful planning, an undergraduate curriculum can be tailored to satisfy the academic requirements of these graduate programs.
Science
One full year each of general and organic chemistry with laboratory work is typically required. These courses should usually be freshman and sophomore level requirements for chemistry and biology majors. Supplemental studies recommended, but not always required, often include biology, biochemistry, geology, materials science, physics, and mathematics.
Humanities
Broadbased coursework in art history, anthropology, and archaeology must cover various cultural traditions and historical periods. At least four to six courses are typically required. Sample subjects include:
| African art American art Ancient civilizations Art and crafts of Native South Americans Art in the East and the West Baroque art Early Renaissance art Greek and Roman art History of architecture History of textile design | Indian art Introduction to art history Introduction to ethnic arts Introduction to prehistoric archaeology Medieval art 19th-century art Oceanic art Technology and culture 20th-Century Art Studio Art |
Formal course work in drawing, painting, photography, and three-dimensional design (including, but not limited to, ceramics, metalworking, sculpture, and textile art) may be required. Upon application to a graduate conservation program, candidates are expected to present a portfolio demonstrating manual dexterity, knowledge of techniques, and an understanding and affinity for art materials.
Languages
Reading proficiency in one or two foreign languages may be required.
Additional Coursework
Courses in museum studies, drafting, and library science may also be recommended.
Professional Experience
In addition to coursework, candidates to graduate programs are strongly encouraged to have had some conservation experience. Internships, volunteer, apprenticeship, or paid work in regional, institutional, or private conservation laboratories is appropriate. Involvement in supervised collection care projects such as collection assessments, rehousing, and exhibition design, as well as examination and treatment of individual artifacts is encouraged. Above all, applicants are expected to be thoroughly acquainted with conservation as a career option and to have a fundamental knowledge of conservation philosophy, ethics, and basic working procedures.
Resources for professional development:
FAIC Professional Development Opportunties>>AIC News Listings: Courses, Conferences, and Seminars>>Conservation OnLine: Education and Training>>TRAINING DIRECTORY
Full-time and some part-time courses and programmes in the United Kingdom This is a list of the main or the longest established courses, but it does not claim to be comprehensive. To be admitted to one of these programmes you will need to demonstrate an enquiring and flexible mind, the ability to work with your hands, considerable patience, and enthusiasm for working with art or heritage items. Prior qualifications in science are generally required, and initial studies in related topics, preferably to A-Level, are generally an advantage if not a formal requirement.
To select a programme which best suits you:
- Consider the material or object type about which you feel most inspired
- Review the institutions' programmes on their website on in the brochure
- Speak to someone in that institution to discuss whether the programme might suit you.
Selection procedures are rigorous, usually including a practical test.
Material and discipline areas
| Archaeology/Objects | Furniture |
| Applied & Decorative Arts | Preventive Conservation & Conservation Science |
| Books/Paper | Textiles/Organics |
| Building/Crafts | Stained Glass |
| Fine Art/Paintings |
Building/Crafts
Training Details of most craft and building conservation training (plus many other shorter courses) can be found at:
Building Conservation Directory
COTAC (Conference on Training in Architectural Conservation)
Robert Gordon University
Details of International conservation training can be obtained at:
International Centre for the Study of the Preservation & Restoration of Cultural Property (ICCROM)
The American Institute for Conservation of Historic & Artistic Works
Canadian Association for Conservation
Conservation On-Line (CooL) (NB much of the UK data here is out-of-date)
Archaeology/Objects
Institute of Archaeology, University College London
Conservation for Archaeology and Museums MSc - Two years
Principles of Conservation MA -One year
Graduate Admissions
Institute of Archaeology
University College London
31-34 Gordon Square
London
WC1H 0PY
Tel: 020 7679 7499
Fax: 020 7383 2572
Email: ioa-pgadmissions@ucl.ac.uk
Cardiff University
Conservation of Objects in Museums and Archaeology BSc - Three years
Professional Conservation MSc - One year
Conservation Practice MSc - Two years
Jane Henderson
Department of Archaeology and Conservation
School of History Archaeology and Religion
Cardiff University
Humanities Building
Colum Drive
Cardiff
CF10 3EU
Tel: 029 2087 5629
Fax: 029 2087 4929
Email: hendersonLJ@cardiff.ac.uk
Durham University
MA in the Conservation of Archaeological and Museum Objects
Postgraduate Admissions Secretary,
Dept of Archaeology,
Durham University,
South Road,
Durham
DH1 3LE, UK
tel: 0191 334 1109 (Monday - Thursday)
fax: 0191 334 1101
email: pgarch.admissions@dur.ac.uk
University of Lincoln
Conservation & Restoration BA (HONS) - Three years full-time
Conservation of Historic Objects MA - One year full-time, 2 years part-time
Lincoln is now able to offer a Distance Learning package which combines flexibility, support and academic rigour. The programme can be accessed by those already working in conservation and not wanting to take a break in their paid employment,or for Continuing Professional Development.To be eligible for this route, you will need to have either a previous undergraduate qualification in Conservation or significant equivalent experience as a practitioner.Working as a distance learner, you are able to submit projects from your employment towards the practical modules.
Conservation Studies Graduate Diploma - One year full-time, 2 years part-time
For enquiries
Telephone +44 (0)1522 837171
Email aadenquiries@lincoln.ac.uk
Blog www.lsad.co.uk
Web www.lincoln.ac.uk
Online enquiry
Conservation and Restoration
School of Art and Design
University of Lincoln
Brayford Pool
Lincoln
LN6 7TS
Applied & Decorative Arts
West Dean College
Diplomas & Professional Development Courses
Clocks
Books and Library Materials
Building Conservation Masterclasses
Buildings, Interiors & Sites
Ceramics & Related Materials
Furniture and Related Objects
Metalwork
Professional Conservators in Practice
Postgraduate Degree
MA Conservation Studies
The Academic Office
West Dean College,
West Dean
Chichester
West Sussex
PO18 0QZ
Diploma/MA enquiries Tel: +44 (0) 1243 818 208
Email: diplomas@westdean.org.uk
Professional Development enquiries Tel: +44 (0) 1243 818 219
Email: cpd@westdean.org.uk
London Metropolitan University
Undergraduate courses - BSc Restoration & Conservation (inc decorative surfaces, wood & metal)
Postgraduate course - MA Conservation (decorative surfaces)
Alex Schoulavloff
Admissions Tutor Conservation,
Sir John Cass Department of Art Media & Design
41-47 Commercial Road
London, E1 1LA
Tel: +44(0) 207 320 2825
Fax: +44(0) 207 320 1830
Email: a.schouvaloff@londonmet.ac.uk
City & Guilds of London Art School
Conservation Studies BA - Three years
Postgraduate Diploma: Conservation Studies 2 years
Postgraduate Diploma: Comparative Studies in Conservation Cleaning, techniques in relation to laser cleaning
For all courses above see the City & Guilds website
The School Office
City & Guilds of London Art School
124 Kennington Park Road
London SE11 4DJ
Tel: +44(0) 20 7735 2306
Fax: +44(0) 20 7582 5361
Email: info@cityandguildsartschool.ac.uk
Royal College of Art and Victoria & Albert Museum
Note: This course has unfortunately now closed
Books/Paper
Camberwell College of Arts, University of the Arts London
Conservation MA - 1 year full time, 2 years part time
Conservation MA (2 year) – New 2 year full time course starting in October 2011
Camberwell College of Arts
Peckham Road
London
SE5 8UF
Tel: +44(0) 20 7514 6302
Email: enquiries@camberwell.arts.ac.uk
West Dean College
Books and Library Materials
The Academic Office
West Dean College,
West Dean
Chichester
West Sussex
PO18 0QZ
Enquiries: Tel: +44 (0) 1243 818 208 or 811 301
Email: diplomas@westdean.org.uk
Fine Art/Paintings
Northumbria University
Conservation of Fine Art MA - Two years full time (study easel paintings or works of art on paper)
Ayesha Ballinger (Course Secretary)
MA Conservation of Fine Art
Northumbria University
Burt Hall
Newcastle upon Tyne NE1 8ST
Tel: +44(0) 191 227 3250
Fax: +44(0) 191 227 3250
Email: ayesha.ballinger@unn.ac.uk
Hamilton Kerr Institute, University of Cambridge
Conservation of Easel Paintings PgDip - Three years full time
The Administrator
Hamilton Kerr Institute
Whittlesford
Cambridge
CB22 4NE
Tel: +44(0) 1223 832 040
Fax: +44(0) 1223 837 595
Email: hki-admin@lists.cam.ac.uk
Courtauld Institute of Arts, University of London
Conservation of Easel Paintings PgDip - Three years full time
Conservation of Wall Paintings MA - Three years full time
For PgDip enquiries:
Courtauld Institute of Arts Department of Conservation & Technology
Somerset House
Strand
London WC2R 0RN
Tel: +44(0) 20 7848 2191
Fax: +44(0) 20 7848 2878
Email: susan.pratt@courtauld.ac.uk
For MA enquiries:
Conservation of Wall Painting Department
Courtauld Institute of Arts
Somerset House
Strand
London
WC2R 0RN
Tel: +44(0) 20 7848 2848
Fax: +44(0) 20 7848 2878
Email: sharon.cather@courtauld.ac.uk
Furniture
Bucks New University
Furniture Conservation, Restoration & Decorative Arts BA (Hons) - Three years full time
Conservation of Furniture & Decorative Arts MA - One year full time, two years part time
Campbell Norman-Smith
Faculty of Design, Media & Management
Bucks New University
Queen Alexandra Road
High Wycombe,
Bucks
HP11 2JZ
Tel: 0800 0565 660
Fax: +44(0) 1494 461 392
Email: cnorma01@bcuc.ac.uk
Rycotewood Furniture Centre
Level 3 Certificate in Making & Repairing Handcrafted Furniture City & Guilds Certificate - 2 years (one day per week)
Rycotewood Furniture Centre
Oxford & Cherwell Valley College
Oxpens Road
Oxfordshire
OX1 1SA
Tel: +44(0) 1865 551 557
Fax: +44(0) 1865 551 369
Email: enquiries@oxford.occ.ac.uk
London Metropolitan University
Undergraduate courses - FDA or BA Furniture Restoration
Alex Schoulavloff
Admissions Tutor Conservation,
Sir John Cass Department of Art Media & Design
41-47 Commercial Road
London, E1 1LA
Tel: +44(0) 207 320 2825
Fax: +44(0) 207 320 1830
Email: a.schouvaloff@londonmet.ac.uk
See Applied & Decorative Surfaces for more courses.
West Dean College
Furniture and Related Objects
The Academic Office
West Dean College,
West Dean
Chichester
West Sussex
PO18 0QZ
Enquiries: Tel: +44 (0) 1243 818 208 or 811 301
Email: diplomas@westdean.org.uk
Preventive Conservation & Conservation Science
Cardiff University
Care of Collections MSc - One year (part time routes available)
Jane Henderson
Department of Archaeology and Conservation
School of History Archaeology and Religion
Cardiff University
Humanities Building
Colum Drive
Cardiff
CF10 3EU
Tel: 029 2087 5629
Fax: 029 2087 4929
Email: hendersonLJ@cardiff.ac.uk
University of Lincoln
Forensic Conservation (Heritage Science) MSc - 1 year full time
Enquiry Centre
University of Lincoln
Brayford Pool
Lincoln LN6 7TS
Tel: +44(0) 1522 882 000
Fax: +44(0) 1522 886 041
Online Enquiry
Northumbria University
Preventive Conservation MA - 1 year full time (on campus or distance learning), 2 years part time distance learning
Jean Brown - Programme Leader Conservation
Burt Hall
Northumbria
University Newcastle upon Tyne
NE1 8ST
Tel/ Fax: +44(0) 191 227 3250
Email: jean.brown@unn.ac.uk
Stained Glass
MA in Stained Glass Conservation and Heritage Management
History of Art Department
Vanbrugh College
University of York
Heslington
York YO10 5DD
Tel: +44 (01904) 432978
Fax: +44 (01904) 433427
Email: sf143@york.ac.uk
Textiles/Organics
University of Glasgow
Textile Conservation MPhil – 2 years full time
Frances Lennard – Programme Convenor
Centre for Textile Conservation and Technical Art History
University of Glasgow
8 University Gardens
Glasgow G12 8QH
Tel: +44(0) 141 330 7607/4097
Fax: +44(0) 141 330 3513
Email: frances.lennard@glasgow.ac.uk
History of Art at the University of Glasgow also offers a one-year programme in MLitt Dress and Textile Histories. Contact rebecca.quinton@glasgow.ac.uk
Conservation Training Programs - US and Canada
United States
| Buffalo State College Art Conservation Department 1300 Elmwood Avenue Rockwell Hall 230 Buffalo, NY 14222-1095 ph 716.878.5025 fx 716.878.5039 artcon@buffalostate.edu | University of Arizona Heritage Conservation Science Materials Science and Engineering Mines Building, P.O. Box 210012 The University of Arizona Tucson, AZ 85721-0012 ph 520.621.6070 fx 520.621.8059 |
| Offers: Graduate Degree | Offers: Graduate Degree |
 Visit their website>> | Visit their website>> |
| Columbia University Historic Preservation Program Graduate School of Architecture Planning and Preservation 400 Avery Hall 1172 Amsterdam Avenue New York, New York 10027 ph 212.854.3518 | University of California Los Angeles/ Getty Conservation Program Archaeological and Ethnographic Conservation Cotsen Institute of Archaeology 308 Charles E. Young Dr. North A210 Fowler Building/Box 951510 Los Angeles, CA 90095-1510 ph 310.825.9407 fx 310.206.472 |
| Offers: Graduate Degree | Offers: Graduate Degree |
| Visit their website>> | Visit their website>> |
| Getty Foundation Getty Graduate Internship Program 1200 Getty Center Drive, Suite 800 Los Angeles, CA 90049-1685 ph 310.440.7320 fx 310.440.7703 gradinterns@getty.edu | University of Pennsylvania Graduate Program in Historic Preservation 210 South 34th Street 115 Meyerson Hall Philadelphia PA 19104-6311 ph 215.898. 3169 fx 215.573.6326 pennhspv@design.upenn.edu |
| Offers: Graduate Internships | Offers: Graduate Degree |
| Visit their website>> | Visit their website>> |
| Harvard University Straus Center for Conservation Harvard University Art Museums 32 Quincy Street Cambridge, MA 02138-3383 ph 617.495.2392 fx 617.495.0322 | Johns Hopkins University Dept. of Materials Science & Engineering Room 102, Maryland Hall Baltimore, MD 21218 ph 410.516.8145 fx 410.516.5293 |
| Offers: Graduate Internships | Offers: Graduate Degree |
| Visit their website>> | Visit their website>> |
| University of Texas at Austin Historic Preservation School of Architecture 1 University Station B7500 Austin, TX 78712 ph 512.471.3792 fx 512.471.0716 holleran@mail.utexas.edu | New York University IFA Art Conservation The Stephen Chan House 14 East 78th Street New York, NY 10075 ph 212.992.5848/47 fx 212.992.5851 conservation.program@nyu.edu |
| Offers: Graduate Degree | Offers: Graduate Degree |
| Visit their website>> | Visit their website>> |
| Winterthur/University of Delawaree The Department of Art Conservation 303 Old College University of Delaware Newark, DE 19716-2515 ph 302.831.3489 fx 302.831.4330 art-conservation@udel.edu | Smithsonian/ Museum Conservation Institute Conservation Research and Technical Studies Museum Support Center 4210 Silver Hill Road Suitland, Maryland 20746 ph 301.238.1240 fx 301.238.3709 MCIweb@si.edu |
| Offers: Graduate/Undergraduate Degrees | Offers: Graduate Internships/Fellowships |
| Visit their website>> | Visit their website>> |
Canada
| Fleming College Collections Conservation and Management/ Museum Management and Curatorship Fleming College 599 Brealey Drive Peterborough, ON Canada K9J 7B1 ph 705.749.5530, ext 1368 fx 705.7495540 gmcintyr@flemingc.on.ca | Queens University Art Conservation Department of Art Ontario Hall, 67 University Ave. Kingston, ON K7L 3N6 ph 613.533.6000, x77776 fx 613.533.6889 artcon@queensu.ca |
| Offers: Undergraduate Degree | Offers: Graduate Degree |
| Visit their website>> | Visit their website>> |
14 Jan 2011
Tools of the trade
Unrolling and documenting
A Technician documents an items to be exhibited.
One of the first jobs a conservator has to do once they receive an artifact is to document its current state. It isn't unusual to spend the entire day going through the pieces delivered for documentation purposes. This is also a really nice way to familiarise myself with the objects prior to taking them to the conservation lab.
There could be as many as 30 pieces to go through and document these in one day! Prior to starting to unroll the objects, it is essential to make sure there is table space large enough to do this in comfortably and that the surfaces are thoroughly cleaned. The documentation requires cross-referencing the numbering system created by the collection owners to make sure that the pieces are named properly. Then measure and date (where known) them, after which each of the items are examined carefully to document any issues with the paper and/or the inks and other media used in them.
example of a part of a documentation sheet (work in progress).
Diagrams and photography are also used support these notes. This is to make sure the condition of each individual object is documented thoroughly before any conservation and framing takes place. It is also important to document both the recto and verso of the piece.
There can be conditions on how much conservation actually takes place. These conditions can be dictated by owners of collections and even by the piece itself. As an example an object that has lived its life being folded, the folds become a part of its history. They might need to be strengthened by adding support to prevent any damage and tearing happening in the future but flattening the object entirely may not be the best treatment for it. Just as with surface cleaning pieces with pencil marks on them, great care needs to go into the planning of conservation treatments, which also emphasises the importance of thorough documentation.
selection of tools used in paper conservation.
The tools that a paper conservator needs to do their job are numerous but at the very top of that list should be patience. All of the physical tools required are the trade-off for the patience as a conservator gets to work with fairly random things at times. Conservators need to stay inventive; dentists tools become irreplaceable and making small saw-blades into scraping tools or suddenly possessing a vast collection of small jam jars that fill up your toolbox is not unheard of.
The conservator has to remember that the job isn't always a rush of repair work. Not only does everything generally take a long time, the paperwork and other forms of documentation - sketches, maps and photography - are absolutely essential to the conservation process. But more usually you need to research what it is you are working on to gain an understanding to any issues related to it. This is not unlike the museum sector, where knowing the history of 'the stuff' enables you to treat it with sensitivity to the traditions of another culture or religion, for example. Of course the variety of areas in which to specialise in within the conservation umbrella are numerous - many similar issues surrounding paper conservation.
selection of tools used in paper conservation.
The significant difference between conservation issues in archives and museums are that archive materials are generally handled, and the ability to do so becomes a part of the research process. Yet museum objects are there to be looked at and admired, most of the time behind a glass and out of reach.
A conservator doesn't only need to know what to do with the vast selection of tools of the trade, but I think also needs to be part artist, part photographer, part chemist and part researcher - and have the patience of a saint.
Detail from a poster
When there is the proposed of an exhibition of some work, an conservator has the opportunity to visit the archive and have a look through some of the materials which may be used. The majority of the objects are hopefully in great condition. Usually a lot of the work has been 'spared' by the fact that items have been stored correctly, say posters are rolled up in tubes and not handled much in the past and has also been very well looked after by the holders of the collection.
At first assessment, the rolled up pieces propose an issue for not only any conservation work, but also for mounting and framing for the exhibition. Most of the pieces that are currently of interest for the exhibition planning team will usually need conservation treatments such as surface cleaning, some possible aqueous washing, certainly flattening and even minor repairs to be done. There are also issues to consider in regards to storage post-exhibition, as once flattened it would be best the chosen objects stayed that way. However, more often than not, a lack of storage space dictates the terms.
To figure out the best way forward with a collection's conservation processes, the holders usually deliver a 'sample poster' to work on. The purpose of this is to not only try and estimate the time for conservation needs for budgetary reasons, but to also test out a possibility of using facsimiles in the exhibition to spare some of the more delicate originals the exposure. This suggestion is often made in cases when an exhibition is to tour other venues after the Local Gallery.
Prior to getting the poster delivered, you would about the options for flattening processes and the large dimensions of any objects would also have to be taken into careful consideration when handling. The inks used on the 'sample poster' needed to be tested for fugitivity if any aqueous flattening methods were to be used. Fugitivity testing is required to determine if the inks on a piece of work are likely to run when in contact with water and is essential before deciding on any aqueous treatments. This testing is done by using a small brush dipped in water and wetting a very small spot on a piece of work, letting the water seep into the paper and pressing a piece of blotter on top to see if there is any ink transferral. The process of wetting a spot is usually repeated a few times to make sure the paper fibres have taken the water in sufficiently enough for the ink fugitivity test to be conclusive. Usually all colours also need to be tested separately, as two inks won't necessarily behave in a similar manner when wet.
Anytime any actual conservation takes place, a pre-conservation record is filled. In this, the most common points that are recorded are type of paper (machine or hand made, laid or wove), dimensions, gsm (the weight of the paper), tears, dirt, folds, holes, print type and other materials used on it. The item is also measured, sketched and photographed.
After this one begins the conservation of the poster. The item comes rolled up and has not been seen prior to unrolling it at the conservation studios, and you can imagine the joy in seeing all these beautiful bright colours! Thankfully the poster itself was in very good condition - only the obvious flattening issues and minor surface dirt on both recto and verso of the piece.
corner prior to surface- and spot-cleaning.
Along one edge there were also areas of ingrained stains, where the dirt had embedded itself into the paper fibres. Since this poster was acting as the 'test piece', after a general surface cleaning with grated Mars Staedler rubber, an attempt is made to removing these stains.
corner after surface- and spot-cleaning.
With these stains only cold distilled water is used, a thin brush to wet the affected area and the capillary action of blotter with pressure from a bone folder to reduce the stain. Most of the stains along the edge were water soluble. The general misconception about washing items is that after washing the stains will have disappeared entirely. More often than not, this is not the case. Conservation is still a relatively young profession and in the past, bleaching has been used as a conservation treatment - thankfully these days this is not considered good practice.
Spot-cleaning an area of the stained edge of a poster, on this strip of blotter you can see the gradual process of the stain being lifted off.
After some satisfaction with the stain removal, it is decided that the paper and inks used were strong and stable for dry heat pressing to flatten it. This meant there was no need to wet the object but instead after placing it under silicone pieces, it was flattened in quarter sections under a heated press.
Mechanical surface cleaning
There are good reasons for mechanical surface cleaning. All of the Archive objects might not necessarily need a lot of work doing to them, but they will all need to be surface cleaned prior to framing, for example.
Surface cleaning materials is a very important first step in the chain of events that stabilise an item being conserved. Dirt on objects can be a source of deterioration and in worse cases can contain mould spores that flourish on nutrients found within the paper and any debris left on it. Water has a strong capillary ability and when paper gets wet, the fibres expand. They contract again when drying, and if surface cleaning hasn't been done, this action traps in any dirt or dust particles left on the paper.
Considering the safety of an object needs to be taken into account. The strength of the paper will determine how and if surface cleaning can be carried out. It is important to remember and know that pencil marks, cataloguing marks and random smudges on objects can play a historic part in the object's life and removing these marks will change the object drastically. I should also note that both recto and verso of the item need to be cleaned.
For the most fragile pieces, surface cleaning might take place by using only a brush - the size of the brush will be dependent on how fragile the paper in question is. Mechanical cleaning can also be done with the aid of chemical sponges, which are widely used in conservation. They are composed of rubber and are heavily filled with calcium carbonate and do not leave any residue on the paper's surface, but are very effective in picking up dirt.
example of how much dirt can be lifted off a print with a chemical sponge.
Rubbers are also commonly used, and the most widely used are Staedler Mars rubbers. This particular make is used for the same reason as the chemical sponges - research has shown that this rubber does not leave any residue on the paper's surface. On sturdier archival pieces, the rubber can be used as a block. For more delicate pieces and items with pencil marks, the rubber is grated and a piece of cotton wool is parcelled inside a piece of anti-static cloth and this is used to gently roll over the grated rubber, removing surface dirt as you go along.
Groomstick is another tacky substance that can be used when wanting to pick up larger bits of debris on an item - for example pieces of glass from a broken frame. Groomstick has a very tacky nature and is not recommended to be used directly on the paper as it can damage the fibres. Using a museum vacuum is also an option and is generally used with archives that are very dirty, for example objects that have not previously been stored correctly. Vacuums should have a filter at the tip to enable picking up any loose pieces that may come off in the process.
Cleaning any tears and around holes and other damaged areas can also propose a problem, as it is important to take care not to damage the object any further. For tears along edges of a piece, a piece of melinex can be used to slide into the tear - this way both sides of the tear can be gently cleaned with less risk of extending the tear.
Surface cleaning objects takes a considerable amount of time - especially cleaning larger pieces.
This worked wonderfully well and the final result is pleasing. A melinex sleeve was then made to size and the poster is being transported back to base for the next step in the process.
Digitisation
Now a days, more often than not, a conservator starts working at an Archives as a Digitisation Technician, since most Archives are constantly in the midst of a project.
But as they continue working in the Archives they will continue enhancing and refreshing their conservation skills by working with paper other Conservator Professionals, who have years of priceless experience in the field and have provided others with new challenges on a weekly basis.
Conservators are not generally involved with digitisation, but some have years of experience in digitisating archival materials, with a path to conservation fortunate enough to have the skills to both conserve an original archival object and to digitise it. This is particularly important when there are only a handful of technicians in your Library/Archive/Museum.
The digitisation of materials is at the forefront for many collections, and plays a big part in not only extending the lives of materials by reducing handling but also by opening collections to wider audiences when a visit is not feasable - this is of course making a general assumption that access to the internet is available.
Increasingly many Archives have a long and successfull history in digitisation. Posters and larger materials that do not fit into most scanners so are photographed instead. To photograph large pieces, technicians use a photographic studio setup in a separate area. For acquiring the best possible results, we use a Mamiya RZ medium format camera with a digital Imacon back attached and a set of flashes for even lighting.
The issue with digital photography and scanning of materials is that despite the advances in digital equipment over the years, details can still get 'lost in translation'. With our 'sample poster', the issue became the finely detailed black ink images lined along one detail of the piece. The digital elements of the camera were not able to handle the thin black lines so close together and created a colour effect on the image that is not present in the original.
colour effect created where the digital camera wasn't able to properly register the fine black lines so close together.
The only way to get around this phenomenon was in the post-photography production of the image. By isolating the affected areas and adjusting colour casts and contrast in a 'photo editing application', to lessen the effect of the colour and bring the digitised version of the poster closer to what the original looks like.
colour effect controlled by digitally masking the area and adjusting contrast and colour casts.
Since the 'sample poster' was digitised with the goal of possibly creating a facsimile for the forthcoming exhibition, the file size, pixel count and focus needed extra attention. The plan is for the reproduction to be printed out the same size as the original. For optimising the results, this means that the pixel count needed to be high and the dimensions of the digital file the same as the original dimensions of the poster. Colour matching will also prove a challenge, as the way in which colours are represented are as numerous as there are computer screen calibrations in the world. For any final printing, the printers would ideally need access to the original to be able to match the facsimile colours as closely as possible with the original colours on the poster.
Facsimiles
original poster (left) with the two facsimiles.
There is a lot of debate about the use of facsimiles and replicas in the Library/Archive/Museum world. But replicas have been used since the beginning and for good reason. Artefacts are replicated to allow for them to be displayed in multiple Museums around the world to give a much wider audience the opportunity to see 'the artefact' in the flesh. Many people do not have the freedom to travel the globe to see a 'original'. The use of facsimiles can prevent both damage and loss of the original from events such as a natural disaster or theft. There is even, now, the case of facsimile pyramid at Gaza designed to prevent further erosion and humidity damage from the millions of tourists they get each year.
For the facsimiles of documents, the digital master file is given to both the reprographics department and a local photographic printers. It has been very interesting to observe the differences between the two. The colour casts are subtly different and there appears to be a difference between the contrast settings. This is because neither department adjusted their settings prior to printing, so these differences will have occurred in the printing process. As the copies were made in the spirit of testing out the process, neither department had access to the colour and grayscale control patched photographs or original poster for reference so the colours were not as vibrant as on the original. There were also subtle differences between being able to see the pixels - one was a little bit softer compared to the other.
For the purposes of making a decision about whether to show facsimiles or not, we arranged for the copies to be magnetically hung on a wall for the collection owners to see what could be done. Although they were very impressed with the results, a decision has now been made in collaboration with the entire team that only originals will be exhibited.
The digital image can now also be used in the planned digital resource in support of the exhibition and shared online.
Subscribe to:
Posts (Atom)
