Sarah,
You already received two good responses from Dave and Marc but this is an
issue that I feel strongly enough about to echo their comments by adding my
two cents...
There are many talented restorers out there and I am not arrogant enough to
think that only Professional Associate level members of AIC (you must be a
PA level or higher to be listed on the AIC conservator referral website)
should be allowed to touch people's art. However, I would be a much
wealthier conservator if I had a dollar for every person who brought me a
piece after attempting a cheaper solution (whether on their own or with
other well meaning assistance). I would be wary of any offer of assistance
based on a standard treatment that is devised without proper examination and
solvent testing of the painting to be treated.
Best,
Rachael Perkins Arenstein
Conservator in Private Practice, New York
>Date: Sun, 12 Aug 2007 10:45:15 -0500
>From: Sarah Wood-Clark <[log in to unmask]>
>Subject: Painting Conservation
>MIME-Version: 1.0
>Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>Content-Transfer-Encoding: 7bit
>
>Hello All,
>
>I have what may be a dumb question, but here goes...a friend has a
>couple of nice aging oil paintings (early-mid this century) that need
>some attention (cleaning and inpainting), she lives in a rural area
>and does not have access geographically or budget-wise to painting
>conservators and has turned them over to someone who has promised to
>go over them with Salamander Oil and varnish them. I don't know what
>varnish, and I seem to remember earlier in my career equating
>salamander oil with snake oil or worse. What does this stuff
>actually do? Will it harm the painting?
>
>Oh, thank you in advance.
>
>Sarah
>
>
>Date: Sun, 12 Aug 2007 10:43:16 -0700
>From: David Harvey <[log in to unmask]>
>Subject: Re: Painting Conservation
>MIME-Version: 1.0
>Content-Type: text/plain; charset=ISO-8859-1
>Content-Transfer-Encoding: 7bit
>
>Sarah,
>
>As a conservator I can tell you that it is often best that nothing is
>done rather than a "restorative" cleaning and treatment that will
>often present much more serious issues for the work of art or the
>object in future years.
>
>I looked up "Salamander Oil" on CAMEO at the MFA Boston site and found
>this entry:
>
>http://cameo.mfa.org/materials/record.asp?key=2170&subkey=8161&Search=Search&MaterialName=Salamander+Oil&submit.x=0&submit.y=0
>
>The description says that Salamander oil contains 60% turpentine and
>natural resins and oils.
>
>Oiling antiques, historic objects, and art works may indeed make them
>look better initially, because the oil saturates the surface and makes
>it "look" new. Many people often use oils to "feed" old wood. Well,
>organic oils over time, chemically cross link and polarmerize and form
>films that darken and can go black and glossy that can be very
>difficult to remove (I am in the middle of one such problem treatment
>right now from years of the use of linseed oil).
>
>Often restorers use these sort of materials because they get quick
>results and they can apply them universally without taking the actual
>condition of the piece into consideration. A conservator bases
>treatment on a careful examination and evaluation of the materials
>involved.
>
>I always tell people that if the art or object is something you do not
>care about, that has a life span of a decade or two, and what you want
>is a cheap fix and that the object is seen as disposable, then go
>ahead with the cheap remedy. If the object or art is important to you,
>has an intrinsic family, heirloom, historic, or artistic value and you
>want to preserve it, then leave it alone until a competant specialist
>can examine it and offer advice on its cleaning and care.
>
>Cheers!
>Dave
>
>David Harvey
>Conservator, Los, Angeles, California
>
>
>On 8/12/07, Sarah Wood-Clark <[log in to unmask]> wrote:
> > Hello All,
> >
> > I have what may be a dumb question, but here goes...a friend has a
> > couple of nice aging oil paintings (early-mid this century) that need
> > some attention (cleaning and inpainting), she lives in a rural area
> > and does not have access geographically or budget-wise to painting
> > conservators and has turned them over to someone who has promised to
> > go over them with Salamander Oil and varnish them. I don't know what
> > varnish, and I seem to remember earlier in my career equating
> > salamander oil with snake oil or worse. What does this stuff
> > actually do? Will it harm the painting?
> >
> > Oh, thank you in advance.
> >
> > Sarah
> >
> > =========================================================
> > Important Subscriber Information:
> >
> > The Museum-L FAQ file is located at
>http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed
>information about the listserv commands by sending a one line e-mail
>message to [log in to unmask] . The body of the message should
>read "help" (without the quotes).
> >
> > If you decide to leave Museum-L, please send a one line e-mail message
>to [log in to unmask] . The body of the message should read
>"Signoff Museum-L" (without the quotes).
> >
>
>=========================================================
>Important Subscriber Information:
>
>The Museum-L FAQ file is located at
>http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed
>information about the listserv commands by sending a one line e-mail
>message to [log in to unmask] . The body of the message should
>read "help" (without the quotes).
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>If you decide to leave Museum-L, please send a one line e-mail message to
>[log in to unmask] . The body of the message should read "Signoff
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>Date: Sun, 12 Aug 2007 23:27:11 -0400
>From: Marc A Williams <[log in to unmask]>
>Subject: Re: Painting Conservation
>MIME-Version: 1.0
>Content-Type: text/plain; format=flowed; charset="iso-8859-1";
>reply-type=response
>Content-Transfer-Encoding: 7bit
>
>My 2-c:
>
>I agree with what David said. The other problem with certain kinds of oils
>is that they may not fully oxidize or dry, remaining oily, softening
>underlying varnish or paint layers and entrapping dust and dirt, creating a
>real mess. Oils are one of the worst products that can be used for
>preservation of painted, finished and decorative surfaces. I never use
>them. Period.
>
>The other issue is that any coating or treatment will seal in existing dirt
>if it is not properly cleaned first. Then, the dirt is much more difficult
>and more expensive to remove in the future. I never varnish or otherwise
>coat a dirty surface.
>
>The treatments you mention, if one ignores their potentially devastating
>effect on the paintings, of course do nothing for the losses requiring
>inpainting. Hopefully, anyone that would consider using the aforementioned
>products on a painting has enough sense not to attempt inpainting, but I
>doubt it.
>
>I know doing nothing is difficult for many people, but doing the wrong
>thing
>is much, much worse than doing nothing. I would suggest that the money she
>would spend for the inappropriate treatment would be better applied for a
>partial treatment by a real conservator. Conservators do not have to do a
>complete treatment. One may be able to stabilize the areas of loss and do
>a
>quick cleaning of dirt, making the paintings look better, without creating
>any additional damage now or in the future.
>
>She may be surprised to find that a qualified conservator lives closer than
>she thinks, she just doesn't know it. The American Institute for
>Conservation (AIC) in Washington, DC maintains a referral list that anyone
>can access. Otherwise, doing nothing is the best thing she can do.
>
>Marc
>
>American Conservation Consortium, Ltd.
> 4 Rockville Road
> Broad Brook, CT 06016
> www.conservator.com
> 860-386-6058
>
>*Collections Preservation Consultation
>*Conservation Assessments & Surveys
>*Low-Tech Environmental Control
>*Moisture Management Solutions
>*Collections in Historic Structures
>*Collections Care Grant Preparation
>*Conservation Treatment of:
> Furniture
> Painted Wood
> Horse-Drawn Vehicles
> Architectural Interiors
>
>Marc A. Williams, President
> MS in Art Conservation, Winterthur Museum Program
> Former Chief Wooden Object Conservator, Smithsonian Institution
> Fellow, American Institute for Conservation (AIC)
>
>
>----- Original Message -----
>From: "Sarah Wood-Clark" <[log in to unmask]>
>To: <[log in to unmask]>
>Sent: Sunday, August 12, 2007 11:45 AM
>Subject: [MUSEUM-L] Painting Conservation
>
>
> > Hello All,
> >
> > I have what may be a dumb question, but here goes...a friend has a
>couple
> > of nice aging oil paintings (early-mid this century) that need some
> > attention (cleaning and inpainting), she lives in a rural area and does
> > not have access geographically or budget-wise to painting conservators
> > and has turned them over to someone who has promised to go over them
>with
> > Salamander Oil and varnish them. I don't know what varnish, and I seem
>to
> > remember earlier in my career equating salamander oil with snake oil or
> > worse. What does this stuff actually do? Will it harm the painting?
> >
> > Oh, thank you in advance.
> >
> > Sarah
> >
> > =========================================================
> > Important Subscriber Information:
> >
> > The Museum-L FAQ file is located at
> > http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed
> > information about the listserv commands by sending a one line e-mail
> > message to [log in to unmask] . The body of the message should
> > read "help" (without the quotes).
> >
> > If you decide to leave Museum-L, please send a one line e-mail message
>to
> > [log in to unmask] . The body of the message should read
> > "Signoff Museum-L" (without the quotes).
> >
>
>=========================================================
>Important Subscriber Information:
>
>The Museum-L FAQ file is located at
>http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed
>information about the listserv commands by sending a one line e-mail
>message to [log in to unmask] . The body of the message should
>read "help" (without the quotes).
>
>If you decide to leave Museum-L, please send a one line e-mail message to
>[log in to unmask] . The body of the message should read "Signoff
>Museum-L" (without the quotes).
>Date: Sun, 12 Aug 2007 23:34:38 -0400
>From: Marc A Williams <[log in to unmask]>
>Subject: Re: "this doesn't smell like a museum!"
>MIME-Version: 1.0
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>
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>
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>
>Pam,
>
>Just be a bit careful with the quantity of cedar chips you use. Wood in =
>chip form has a very large surface area compared to lumber, and volatile =
>wood acids will be released in much larger quantities. These can damage =
>textiles, paper and other sensitive materials. Keep the quantity small, =
>or consider using an alternative scent that is not derived from acidic =
>cellulose. Is there an incense that doesn't have to be burned? Or, =
>perhaps of few drops of perfume strategically placed?
>
>Marc
>
>American Conservation Consortium, Ltd.
> 4 Rockville Road
> Broad Brook, CT 06016
> www.conservator.com
> 860-386-6058
>
>*Collections Preservation Consultation
>*Conservation Assessments & Surveys
>*Low-Tech Environmental Control
>*Moisture Management Solutions
>*Collections in Historic Structures
>*Collections Care Grant Preparation
>*Conservation Treatment of:
> Furniture
> Painted Wood
> Horse-Drawn Vehicles
> Architectural Interiors
>
>Marc A. Williams, President
> MS in Art Conservation, Winterthur Museum Program
> Former Chief Wooden Object Conservator, Smithsonian Institution
> Fellow, American Institute for Conservation (AIC)
>
>
> ----- Original Message -----=20
> From: Pamela Silvestri=20
> To: [log in to unmask]
> Sent: Sunday, August 12, 2007 1:28 PM
> Subject: Re: [MUSEUM-L] "this doesn't smell like a museum!"
>
>
> Oh...I guess I should be glad that our museum isn't near a =
>food/product establishment...the aroma of chocolate would be nice though =
>-I wouldn't mind (as long as it's dark chocolate lol).
>
> Since the topic of smell has come up again, it occurred to me that =
>using cedar chips would be beneficial. Don't know why I hadn't thought =
>of this before. I've requested cedar chips (a large amount) that I can =
>place in containers around the museum. A pine odor would be nice too. =
>We can't do much about the mustiness...with the humidity we've been =
>having it's been unavoidable (because we don't have the resources to =
>deal with it properly). At least I can try the cedar chips to mask the =
>odor.
>
>
>
> In a message dated 8/11/2007 9:53:59 AM Eastern Daylight Time, =
>[log in to unmask] writes:
> Museums don't have a characteristic smell, imho.=20
> Libraries and archives do - old paper and bindings
> slowly deteroriating give off a characteristic odor,
> various photographic media have a distinctive smell
> when they begin to degrade and there are lots of
> smells one associates with individual collections=20
> Mostly museums smell like the people who in the
> building and their activities.
>
> Way too frequently, the museum where I worked smelled
> of hamburgers and other grilled foods prepared in the
> large and very busy food court on the ground floor.
> There was a special ventillation system and it may
> have filtered particulates and smoke out, but the
> aroma wafted throughout the building.
>
> The other prominent aroma was that of "buttered"
> popcorn -- there were popcorn vendor wagons set up at
> various times and places. On top of the popcorn for
> visitor consumption, microwave popcorn was a popular
> snack with lots of employees. It was reguarly prepared
> in the "personal" microwave ovens that proliferated in
> various departments and offices.
>
> Ambrosia Chocolate used to make their product a few
> blocks away from the museum, until either the City or
> the Technical College acquired their property for a
> parking lot and the chocolate maker moved out to the
> 'burbs. Before that the heavenly aroma of chocolate
> would scent the air outdoors when we left work in the
> evenings. It was delightful, but hell on diets.
>
> Judy Turner
> Whitefish Bay, WI
>
>
>
>
>
>
>
>
>
>-------------------------------------------------------------------------=
>-----
> Get a sneak peek of the all-new AOL.com.
> =
>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
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>=3D=3D=3D=3D=3D=3D=3D Important Subscriber Information:=20
> The Museum-L FAQ file is located at =
>http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed =
>information about the listserv commands by sending a one line e-mail =
>message to [log in to unmask] . The body of the message should =
>read "help" (without the quotes).=20
>
> If you decide to leave Museum-L, please send a one line e-mail message =
>to [log in to unmask] . The body of the message should read =
>"Signoff Museum-L" (without the quotes).=20
>
>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
>Important Subscriber Information:
>
>The Museum-L FAQ file is located at
>http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed
>information about the listserv commands by sending a one line e-mail
>message to [log in to unmask] . The body of the message should
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>If you decide to leave Museum-L, please send a one line e-mail message to
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>Museum-L" (without the quotes).
>
>------=_NextPart_000_002C_01C7DD39.591C9BF0
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> charset="iso-8859-1"
>Content-Transfer-Encoding: quoted-printable
>
><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
><HTML><HEAD>
><META http-equiv=3DContent-Type content=3D"text/html; =
>charset=3Diso-8859-1">
><META content=3D"MSHTML 6.00.2900.3132" name=3DGENERATOR>
><STYLE></STYLE>
></HEAD>
><BODY id=3Drole_body style=3D"FONT-SIZE: 10pt; COLOR: #000000; =
>FONT-FAMILY: Arial"=20
>bottomMargin=3D7 bgColor=3D#ffffff leftMargin=3D7 topMargin=3D7 =
>rightMargin=3D7>
><DIV><FONT face=3D"Times New Roman" size=3D3>Pam,</FONT></DIV>
><DIV><FONT face=3D"Times New Roman" size=3D3></FONT> </DIV>
><DIV><FONT face=3D"Times New Roman" size=3D3>Just be a bit careful with =
>the quantity=20
>of cedar chips you use. Wood in chip form has a very large surface =
>area=20
>compared to lumber, and volatile wood acids will be released in much =
>larger=20
>quantities. These can damage textiles, paper and other sensitive=20
>materials. Keep the quantity small, or consider using an =
>alternative scent=20
>that is not derived from acidic cellulose. Is there an incense =
>that=20
>doesn't have to be burned? Or, perhaps of few drops of perfume=20
>strategically placed?</FONT></DIV>
><DIV><FONT face=3D"Times New Roman" size=3D3></FONT> </DIV>
><DIV><FONT face=3D"Times New Roman" size=3D3>Marc</FONT></DIV>
><DIV><BR>American Conservation Consortium, =
>Ltd.<BR> 4=20
>Rockville Road<BR> Broad Brook, CT=20
>06016<BR> <A=20
>href=3D"http://www.conservator.com">www.conservator.com</A><BR> &nbs=
>p; =20
>860-386-6058</DIV>
><DIV> </DIV>
><DIV>*Collections Preservation Consultation<BR>*Conservation Assessments =
>&=20
>Surveys<BR>*Low-Tech Environmental Control<BR>*Moisture Management=20
>Solutions<BR>*Collections in Historic Structures<BR>*Collections Care =
>Grant=20
>Preparation<BR>*Conservation Treatment of:<BR> =20
>Furniture<BR> Painted =
>Wood<BR> =20
>Horse-Drawn Vehicles<BR> Architectural =
>Interiors</DIV>
><DIV> </DIV>
><DIV>Marc A. Williams, President<BR> MS in Art=20
>Conservation, Winterthur Museum Program<BR> =
>Former Chief=20
>Wooden Object Conservator, Smithsonian =
>Institution<BR> =20
>Fellow, American Institute for Conservation (AIC)</DIV>
><DIV> </DIV>
><DIV> </DIV>
><BLOCKQUOTE dir=3Dltr=20
>style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
> <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
> <DIV=20
> style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
>black"><B>From:</B>=20
> <A [log in to unmask] =
>href=3D"mailto:[log in to unmask]">Pamela=20
> Silvestri</A> </DIV>
> <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A =
>[log in to unmask]
> =
>href=3D"mailto:[log in to unmask]">[log in to unmask]
></A>=20
> </DIV>
> <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Sunday, August 12, 2007 =
>1:28=20
> PM</DIV>
> <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: [MUSEUM-L] "this =
>doesn't=20
> smell like a museum!"</DIV>
> <DIV><BR></DIV><FONT id=3Drole_document face=3DArial color=3D#000000 =
>size=3D2>
> <DIV>
> <DIV>Oh...I guess I should be glad that our museum isn't near a =
>food/product=20
> establishment...the aroma of chocolate would be nice though -I =
>wouldn't=20
> mind (as long as it's dark chocolate lol).</DIV>
> <DIV> </DIV>
> <DIV>Since the topic of smell has come up again, it occurred to me =
>that using=20
> cedar chips would be beneficial. Don't know why I hadn't thought of =
>this=20
> before. I've requested cedar chips (a large amount) that I can =
>place in=20
> containers around the museum. A pine odor would be nice =
>too. We=20
> can't do much about the mustiness...with the humidity we've been =
>having it's=20
> been unavoidable (because we don't have the resources to deal with it=20
> properly). At least I can try the cedar chips to mask the odor.</DIV>
> <DIV> </DIV>
> <DIV> </DIV>
> <DIV> </DIV>
> <DIV>In a message dated 8/11/2007 9:53:59 AM Eastern Daylight Time,=20
> [log in to unmask] writes:</DIV>
> <BLOCKQUOTE=20
> style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px =
>solid"><FONT=20
> style=3D"BACKGROUND-COLOR: transparent" face=3DArial color=3D#000000 =
>
> size=3D2>Museums don't have a characteristic smell, imho. =
><BR>Libraries and=20
> archives do - old paper and bindings<BR>slowly deteroriating give =
>off a=20
> characteristic odor,<BR>various photographic media have a =
>distinctive=20
> smell<BR>when they begin to degrade and there are lots of<BR>smells =
>one=20
> associates with individual collections <BR>Mostly museums smell like =
>the=20
> people who in the<BR>building and their activities.<BR><BR>Way too=20
> frequently, the museum where I worked smelled<BR>of hamburgers and =
>other=20
> grilled foods prepared in the<BR>large and very busy food court on =
>the=20
> ground floor.<BR>There was a special ventillation system and it =
>may<BR>have=20
> filtered particulates and smoke out, but the<BR>aroma wafted =
>throughout the=20
> building.<BR><BR>The other prominent aroma was that of =
>"buttered"<BR>popcorn=20
> -- there were popcorn vendor wagons set up at<BR>various times and=20
> places. On top of the popcorn for<BR>visitor consumption, =
>microwave=20
> popcorn was a popular<BR>snack with lots of employees. It was =
>reguarly=20
> prepared<BR>in the "personal" microwave ovens that proliferated=20
> in<BR>various departments and offices.<BR><BR>Ambrosia Chocolate =
>used to=20
> make their product a few<BR>blocks away from the museum, until =
>either the=20
> City or<BR>the Technical College acquired their property for =
>a<BR>parking=20
> lot and the chocolate maker moved out to the<BR>'burbs. Before =
>that=20
> the heavenly aroma of chocolate<BR>would scent the air outdoors when =
>we left=20
> work in the<BR>evenings. It was delightful, but hell on=20
> diets.<BR><BR>Judy Turner<BR>Whitefish Bay,=20
> WI<BR><BR><BR></FONT></BLOCKQUOTE></DIV>
> <DIV></DIV>
> <DIV> </DIV></FONT><BR><BR><BR>
> <DIV><FONT style=3D"FONT: 10pt ARIAL, SAN-SERIF; COLOR: black">
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>000982"=20
> =
>target=3D_blank>AOL.com</A>.</FONT></DIV>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
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> Important Subscriber Information:=20
> <P>The Museum-L FAQ file is located at=20
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> information about the listserv commands by sending a one line e-mail =
>message=20
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> (without the quotes).=20
> <P>If you decide to leave Museum-L, please send a one line e-mail =
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