I’ve just spent a fabulous morning at the Museum of Childhood having a look for books for my MA project, thanks to Catherine at the museum and Jane at the V&A, I am hopefully going to be taking a book from this museum and working on it under Jane’s supervision at the V&A – very exciting!! Pictures of the chosen book will hopefully come soon!
In the meantime, I did have a peruse of the shelves in the museum itself and felt like I had stepped back in time and onto the playground at my primary school! So here are some pics if you remember any of them!
This little monster plagued my best friend for much of her youth!
I still have this doll somewhere!
And one of these, I think it’s going on eBay at some point soon…
Unfortunately I have no photos as I don’t seem to be all here at the moment, so I have included a standard picture from the web!
We were given an introduction into the conservation department at the Tate Britain by Charity Fox who is part of the conservation team and heavily involved in both conservation of works of art on paper and working with other galleries so items can go on exhibition and on loan.
The latter seemed like quite a long complex process of meetings and careful planning, but this really is only natural when you are talking about a Turner watercolour being loaned out. The department has a tally showing exactly how many days a piece has been on show that year, and how many are left before it has to go into a rest period, so it all seemed extremely organised. We were lucky enough to be shown a small Turner that was in for conservation as the iron gall ink used on part of the painting was burning through the paper – Amazing!
We were also taken into the framing department who design and build frames for all the works. There are standard frames for different era’s – for example anything after around 1920 goes into a modern ash frame.
Very interesting and I’m now looking forward to going back to see the actual gallery as I haven’t been for years!
Due to the restrictions on taking photographs at the house of lords, I only have the one picture below, which is unfortunately not great quality – but hey ho, but that than nothing!
We met Caroline Babington and Lara Artemis whilst at the Houses of Lords, who are the Collections Care Managers for Paintings and Archives.
Caroline gave us a tour through some of the key rooms at the House of Lords, which was fascinating. Being a paintings specialist, Caroline gave us an insight into some Englands most prestigious frescos, which is one of the biggest collections in Europe.
Later Lara took us through the conservation and binding studios, which were part of the Queen Victoria Tower and were wonderful. Their approach to conservation has changed over the years concentrating more on preservation management in the last few years as a method to sustain the heritage of the collection as it stands at the moment. We also got a visit to the Act store, which you will often see in TV programmes – again no photographs sadly as it was an absolutely incredible store.
Well today has been a very busy day in my newly set up studio – with the Duck Pond Market coming up on Sunday, I have been preparing for the fair – stocking up my books, making more stationery and business cards. I’ve a little way to go to finish some bits and pieces, but I’m nearly there!
Doing a stock take of inserts! Don’t they look pretty!
New coptic bound books, these were made soooo much easier by having the board chopper accessible!
Books in the press with new handmade pressing boards (thanks to my wonderful father!)
Today I was back at the V&A for the first time in the New Year – it’s always nice to return after a break and find familiar faces, so it was a happy return!
The day was also boosted by seeing On Eagle’s Wings exhibition at the museum. This is an exhibition on comic books that myself and a collegue have been working on for the last month or so, each of us doing paper repairs on the covers and display spreads of the comics. Having been involved since the start of the conservation work, it was really nice to see the exhibition come to fruition.
Due to copyright issues, I was not able to get any close-ups of the comics themselves, but in the images below you can see the general layout. It is located outside the Twentieth Century gallery and takes up four of the cabinets there. One of the cabinets is specifically dedicated to the girls comics, which I worked a lot on. Girl is the counterpart to Eagle, which is the key comic book for the exhibitions. The latter was an extremely popular boys comic whereas Girl was one of the leading girl’s comic books, including such items as Wendy & Jinx (a detective duo) and how to do flower arrangements.
I was pleased to see that of those comics that I had worked on, I was not able to see the paper repairs, which is a good sign!
This lecture took place a while ago now, and it has taken me a while to write anything about it, though that does not make it any less interesting. Unfortunately I have no pictures, so will endeavour to make it short. Our lecturer was Cheryl Porter who is a a specialist in pigments and had kindly given us her time as part of the Book and Paper ICON Group move to provide more specialist lectures, which was fantastic as her skills and experience are extensive.
Porter has been spending time in both Armenia and Egypt to study the pigments found in manuscripts over there. She concentrated on red and pink pigments for our lecture as there is such a huge depth of information on the subject as a whole, it could be impossible to cover all of it.
There was a specific type of red pigment found in Armenian manuscripts that they had initially found difficult to locate. After extensive research, Porter found that the pigment was made from female Armenian Cochineal beetles, specifically found in the base of the valley of Mount Arrarat. The earliest knowledge of the use of this pigment was in 1743 and was not just used for colouring manuscripts, but also as a fine dye for fabrics and silks.
Porter duly went on a beetle pilgrimage to the valley of Mount Arrarat and found disappointingly few beetles and almost no-one who knew anything about them. However luck was on her side as she met a father from the Khor Virap Monastary who was familiar with the pigment and was even able to show Porter how to formulate it from the small amount of beetles that they had found, which included keeping them in alcohol for about a year to separate the fats – this would be after slow roasting them in order to dessicate them, so a relatively gruesome process!
The number of beetles has reduced for several reasons, including the building of a chemical factory after the war, and using it as a military area, there is also no control over the animals, which are free to roam the area and eat all the grass, removing any food source for the beetles. Grass is also destroyed by using the land for crop growing, so sadly the beetle colony is reducing year by year.
Thank you to dontai.com for this picture of a cochineal beetle!