Given that there are a number of conservators who actively participate on this list and are quite generous with their time and knowledge I think a comment like "many conservators do not share their knowledge" is an unfortunate and untrue statement.  I consider that most of my colleagues are generous with their expertise - especially so with small institutions.  Where we are particularly careful or leery is in giving out information on objects sight unseen or information which, without a full understanding of the context or repercussions, will wind up leading an owner to do something that might lead to damage or deterioration.  Materials used by professionals can be still be used inappropriately by others.  

Rachael Perkins Arenstein
A.M. Art Conservation, LLC
Art Conservation, Preservation & Collection Management
[log in to unmask]
www.AMArtConservation.com
917-796-1764

-----Original Message-----

Date:    Sun, 21 Mar 2010 14:07:47 +0000
From:    Ware Petznick <[log in to unmask]>
Subject: Re: Leather conservator
 
I agree that a trained and experienced conservator is always best way forward, but for many sites that cannot afford one, is it not better to follow guidelines from conservators who actually share their knowledge than let an object deteriorate further?
 
I searched many journals about the benefits and potential harms of Klucel-G and Mowital - products used by professional conservators at the Biltmore. As the chemical actions of those products were reversible in ethanol, we proceeded with caution. We tested it first. Likewise, the information came from trained conservators who agreed to help as questions arose in the process as a professional courtesy. It was a like for like process- leather chairs.
 
I agree that saddle leather is quite different to leather used in books or in furniture, and thus, the same method should not be used without consulting an expert. 
 
Another point I would like to make is that many conservators do not share their knowledge, and thus, are able to maintain their high hourly rates, which are deserved if they are well trained. I believe in paying for expert knowledge and used many conservators - Gentle Arts in New Orleans for example - but the same principles for the care and preservation of objects used by conservators should be known by curators of smaller sites who may risk losing an object forever for the lack of any action. Certainly they should know and understand the nine agents of deterioration, and methods of mitigation and control. Likewise, most sites will have far too many  textiles to send to a conservator and a well-informed and trained curator or museum technician can be trusted to use orvus paste, for example, on specific textiles that require cleaning.
 
I am reminded of the many Victorians who acted with all the best intentions and ended up causing more damage to paintings than if they had done nothing at all. So, I do agree that it can be dangerous to proceed without fully weighing the pros and cons of any contact/action with objects.
 
Whenever I have shared the method we used with others, I have always prefaced it by stating that I was not trained specifically as a conservator though the method, materials and process did come from them. 
 
Sincerely,
Ware Petznick




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