Recent research has shown that many ancient Egyptian metal objects were originally exuberantly colored, employing contrasting metal alloys or other inlays to highlight details or portions of a figure. These animated images show three ancient Egyptian artworks’ current condition and how they might have looked originally.
Museum conservators use modern technology to date and identify a 13th century Flemish reliquary. This large, church-shaped shrine once housed the relics of a 7th-century saint who served as a missionary and bishop to the western regions of present-day Belgium. St. Amandus (d. 679) also established a monastery at Elnon, near Tournai (western Belgium), where the monks later commissioned this reliquary to honor his remains.
The Bodhisattva Guanyin, a beautiful near-life-size figure, was a recent gift from the Doris Duke Charitable Foundation. Made in China during the Ming period (early 15th–early 17th centuries), the sculpture made its journey from the Duke estate to the Walters 19th-century galleries, where it received treatment by the conservation department prior to going on view in the Hackerman House.
While ancient marble sculptures are often thought of as pristine and white, we know that many were once painted with bright colors. This sarcophagus is no different. Recently, while removing plaster and other old restoration materials, conservators have discovered several areas of what is believed to be original red paint.
Where there’s silver, there’s tarnish. While getting the tarnish off your flatware might be an occasional inconvenience, to museum curators and conservators, it’s a threat to irreplaceable works of art.
To protect these objects for generations to come, scientists from the A. James Clark School of Engineering at the University of Maryland, College Park, have teamed up with conservators from the Walters Art Museum to develop and test a new, high-tech way to protect silver art objects and artifacts, using coatings that are mere nanometers thick.
Paintings are often requested for loans to exhibitions in other museums. To ensure that they remain in a safe, stable environment from the time they leave the Walters to the time they return, especially vulnerable paintings are enclosed in a climate-controlled, in-frame vitrine, made for the individual piece. The vitrine ensures that the encapsulated painting will remain in the Walters’ relative humidity outside the museum walls. Our video demonstrates the vitrine-making process on one of the Walters’ most famous paintings.
Art historical, scientific, and technical research contribute to the careful treatment of this very rare and significant Spanish altarpiece, attributed to a Catalan master. The large Gothic triptych titled The Madonna and Child with the Crucifixion, the Annunciation, the Presentation in the Temple, and the Coronation of the Virgin is a striking example of Italian influence in Continue Reading →
Recently, the carved coconut box below came to the Objects Conservation lab at the Walters Art Museum in preparation for exhibition. Conserving this coconut box gave the conservation staff opportunity to consider the coconut and the ways it has been used over the centuries.
Recently in the Objects Conservation lab at the Walters, in collaboration with Curator of Renaissance and Baroque Art at the Walters, Dr. Joaneath Spicer, this 15-16th century Spanish Processional Cross has been the subject of a year-long in-depth study and conservation treatment, funded by the Samuel H. Kress Foundation. This study was undertaken to learn Continue Reading →
By using examination techniques that do not damage the object, it is possible to characterize many of the materials that were used to create this cartonnage. Now that conservators know more about these materials, it is possible to make recommendations about how best to store this object so that it will not continue to deteriorate. The fragment will be placed in a closed container to protect the fragile surface from accidental damage and the Egyptian blue from exposure to the air. It will be kept in the dark or in low light to protect the orpiment.