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58:. Activities include examination, documentation, treatment, and preventive care, which is supported by research and education. Object conservation is specifically the actions taken to preserve and restore cultural objects. The objects span a wide range of materials from a variety of cultures, time periods, and functions. Object conservation can be applied to both art objects and artifacts. Conservation practice aims to prevent damage from occurring, a process known as 'preventive conservation'. The purpose of preventive conservation is to maintain, and where possible enhance, the condition of an object, as well as managing deterioration risks, such as handling and environmental conditions. Historically, object conservation was focused on the category of
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many people there is little value in an antique that is unusable or not able to be displayed. Poor restoration is the bane of a trained restorer. Working on someone else's bad repair is the worst possible situation. Often with antique restoration, there are also other issues as well. For example, some collectors value "patina", or also want an item to still reflect an aesthetic that shows its age- in this respect, an "over restored" item can actually take away from its value than if nothing has been done to the item at all. Therefore, restoration of valuable objects should always be left to professionals who are sensitive to all of the issues, ensuring that a piece retains or increases its value after restoration.
651:: Finish restoration is the process of bringing an existing finish back to life. This involves re-emulsifying the original finish, either shellac or varnish. By using the original solvents to liquefy the solids, their ability to adhere to and penetrate the piece returns. The process also removes the dirt and grime accumulated over years of use. If the finish is very thin, additional layers of the same finish may be applied to bolster the restored finish and ensure longevity. Finish restoration results in an original finish rating: for example, 85% of the original finish remains. The more original finish that remains, the more antique value remains.
470:(the innate tendency of an object or material to decay). Not all objects will be treated because of the purpose of the object, or the intention of the artist. Consideration of the history of the object and the artist's intentions are heavily weighed prior to any treatment or testing of materials. Some example of materials which produce chemical reactions, causing physical changes to the object are silver and wood. This is because wood is known to emit acetic acid (ethanoic acid) that becomes a pollutant to the silver, causing it to tarnish at a faster rate. If corrosion of metals are considered for testing, the
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material needs to be kept in a high controlled and consistent temperature and humidity levels. A too high relative humidity can cause wood to swell, and a too low relative humidity can cause the wood
Bending or twisting, as well as the appearance of cracks and cracks. Extreme fluctuations of both can speed the deterioration process of the wooden object. With high relative humidity, wood is also prone to pests. An example of treatment would be to freeze the objects to kill any pests that may have been existing within.
657:: The process of stopping or slowing deterioration usually does not involve actual restoration or attempts to return the piece to its original condition. Damage and finish deterioration are left intact, but prevented from going further. This process is usually done on museum works; we recommend a conservation or restoration process for home use of antiques. In most cases this is a chemical process that prevents further oxidation of the wood and metals, and in addition adds moisture to the existing finish.
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objects, or object values; and continual events or processes resulting in loss of data, objects, or object values. Object conservation depends on objects remaining in well cared for environments with up to date records and locations. Dissociation can happen both as a direct consequence of actions, like removing a label tag or making errors in records, as well failing to perform actions, like not applying object numbers with permanent materials or not meeting legal requirements to prove
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management; emergency preparedness and response; and reformatting/duplication. Preventive conservation is an ongoing process that continues throughout the life of cultural property, and does not end with interventive treatment." The practice of preventive conservation intends to provide the greatest amount of conservation for the largest number of objects in a collection. Jeffrey Levin, Communications Editor, Information and
Communications, at the
719:(V&A), have developed and implemented their own form of ethical protocols, procedures, and guidelines in order to ensure that the V&A takes into account all points of views before any object undergoes conservation intervention or treatment. The V&A's ethics protocol was implemented through the use of a novel checklist method, "Victoria & Albert Museum Conservation Department Ethics Checklist" introduced in 1994.
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the combination and range of materials that may comprise each object. In addition, the vulnerability of individual objects to water can be affected (i.e. increased) significantly by the state of the degradation of the materials." Water damage causes a variety of preservation concerns, including but not limited to: discoloration, cracking, softening, matting, distortion,
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Over time, object conservation as a profession has developed to the point where specialization for objects and the materials out of which they are made have become the standard of modern conservation. Conservation skills are now being taught at institutions such as the master's degree program in art conservation at
Winterthur and the
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On the other extreme, though most bad old pieces were thrown away long ago, there are pieces that, because of their original design or workmanship or because of damage, are not worth restoring but that are made of re-usable materials such as hard wood, amber, pewter or ivory. As the number of people
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as "the mitigation of deterioration and damage to cultural property through the formulation and implementation of policies and procedures for the following: appropriate environmental conditions; handling and maintenance procedures for storage, exhibition, packing, transport, and use; integrated pest
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is another type of material that is identified as organic. Wood is a very absorbing material based on its environment. Thus, depending on the amount of water that is exposed in the air, the wood can expand and contract easily, changing the physical condition of the object. This is the reason why wood
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are defined by the "National Park
Service (NPS) Management Policies(2006) section 4.4.5.1 defines a pest as "an organism that interferes with the management objective of the site." For museums, a pest is defined as any organism that jeopardizes museum resources." Pests can include but are not limited
288:, liquids or solids of either anthropogenic or natural origin, and they are substances that are known to have adverse effects (negative consequences) on objects. Deposits of solid particles are considered pollutants, and while they may not necessarily cause damage, they are recognized as altering the
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and spray systems replaced the original French polish finish, which is impractical for mass furniture production due to the labor-intensive process of application. As the desire for antiques was not idle, neither was the need for them to be appropriately restored; thus, the trade has been kept alive
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can be traced to accidents or neglect. "A great many of the materials that museum objects are made of are highly susceptible to contact with water and can be severely damaged by even brief contact, while others may be exposed to water for longer periods without harm. This situation is complicated by
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Museums, libraries, archives and private entities have the duty and responsibility to take care of and preserve their collections for the future. In order carry out this duty, these organizations strive to maintain the highest standards of professionalism and ethical practice when caring for their
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program plays an integral and necessary part of every museum's collection care policy. Routine collections inspections can detect and reveal the presence of pests within the museum's buildings and storage areas. Common ways of reducing risks posed by pests are to reduce or eliminate food and water
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can cause object degradation. One being that the temperature is too high: this excess heat can cause chemical, physical, and biological phenomena. The most important phenomena for museums and archives is chemical: normal room temperatures are much too high for the long-term preservation of unstable
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from a number of internal and external sources. Most museum fires begin as a result of human neglect and carelessness, or are intentionally set. Damage to objects can be irreparable or can be mitigated due to storage choices (like being in a glass case), the object's material(organic materials are
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increases and the number of trees and other natural products in the world decreases, wood and other materials become more scarce. So the fact that the material was not worth doing a good job with when an item was made does not mean that the material should be discarded along with the object now.
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is retained, if possible. Stripping is only done as a last resort, especially with antique furniture. Engines might be rebuilt with new parts as necessary, or holes in a silver pot might/may be patched. While some of these practices are frowned on by many museums, scholars, and other experts, for
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is "an accelerated corrosion test for effects on metals" Certain cases such as the
Necklace from Somalia, the British Museum had run tests for the yellow beads and the silver alloy that link the components into a necklace. The test was in fact able to conclude that the yellow beads were exposing
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Object conservation has been around ever since people have been amassing and assembling collections for others to enjoy. Conservation in its early history was conducted by skilled craftsman and tradesman who could repair and return the objects back into a useful working or exhibition condition.
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is a type of organic object that is prone to deterioration when exposed to "microorganisms, atmospheric gases, strong light, and extremes and fluctuations of humidity". Because of their vulnerability, these types of objects require persistent attention. Special treatment is needed for objects of
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is an immaterial form of damage, rather than something physically done to an object. Damage can occur as: rare and catastrophic single events resulting in extensive loss of data, objects, or object values; sporadic and severe events occurring every few years or decades resulting in loss of data,
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Such codes of ethics are intended to provide guidance and are not intended to be taken as absolute practice as institutions are varied in their size, scope, and nature. It is up to each institution to adapt, adopt, and implement ethical guidelines which are necessary to meet that institution's
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materials. With comprehensive preventive conservation, the need for individual treatments can, over time, be reduced to more manageable levels, putting personnel and financial resources to more effective use." Preventive conservation allows institutions with collections to better manage their
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objects. Depending on the material being handled with for storage or needing conservation treatment, the conservator specializing in the specific type or range of objects is considered prior to treatment. According to the Code of Ethics
Conservators are to only proceed treatment with care and
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Given that a single piece of furniture may include wood, glass, inlay, leather and fabric, antique restoration encompasses several skills. Caldararo estimates that 90 percent of USA restorers are self-taught, or have cobbled their skills together from idiosyncratic backgrounds.
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In order to preserve objects for the future, museums, libraries, and other collecting institutions utilize preventive conservation practices. Prof. Ziad al-Saad, Professor of
Cultural Heritage Conservation and Management at the Faculty of Archaeology and Anthropology
669:: Physical structural replacement or reinforcement of parts of the original piece. May involve addition of new materials altered to appear aged or the application of antique materials to improve appearance of repair and preserve as much value as possible.
372:, and other plant and animal materials, including natural history specimens", and inorganic materials consists of "metals, glass, and ceramic materials and stone". Composite objects are a mix of mediums that involve both inorganic and organic materials.
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can completely remove an object from the control of an institution while either destroying it or damaging it in a wide variety of ways. Like dissociation, this cause of deterioration is much harder to control due to the institution's ability to address
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leather if restoration of their original state is desired. For example, when leather is exposed to mold, the object should be treated with a vacuum and or alcohol if it has been tested that there is no discoloration or transferring of color.
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There considerable difference between restoring and repairing. Functionality may be achieved by a repair, but restoring an item properly is an art-form. Finishes might/may be stripped and redone, but it is essential that the original
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are broken and need restoration either because it is needed to be displayed on exhibition or for the stability of the object when used for examination or study, some type of techniques can include but may not be limited to gap fills,
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fades materials. Colors that fade can disappear within as little as a few hours of direct sunshine, or just a few years at low museum lighting. But some types of objects are more fade resistant due to their specific materials.
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Restoration can be as simple as light cleaning to remove disfiguring dirt or grime, such as on the surface of a painting, or it may include near complete rebuilding or replacement, as might be the case with old
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nitric acid to the silver only allowing corrosion to the metal over time. Thus, the necklace had to be removed from the different components and stored detached in order to reduce rapid decaying of the object.
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and moisture in the air. Interventive treatments for metals is an irreversible procedure that need consideration prior to work. Such types of treatment include cleaning involving chemicals or tools such as
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is the quality of the air that ranges between damp and dry, which causes damage to objects. Damp is when the relative humidity is over 75%. Damp causes several types of deterioration: mold, rapid
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Original artwork can sustain all sorts of damage over its lifetime. Conservators have an obligation to the artwork to recommend the best techniques for preserving it for future generations.
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and minute losses, to large-scale effects such as crushing objects, collapsing floors, and, in extreme cases, destroying buildings. Five important force-related effects are: impact; shock;
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but now many different types of objects are conserved. Each type of object material, typically denoted by organic or inorganic then the specific medium, requires a specialized professional
463:. At least one portion of each type is required. When combined, composite objects may take on properties and characteristics which differ from the properties of the original materials.
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663:: Removing a finish and applying a new finish in its place. This process destroys significant portions of antique value in furniture and should be avoided unless absolutely necessary.
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human made materials, especially those carrying images, sound, and text. Another problem arise when temperature is too low. Overall, low temperature is beneficial to collections, but
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81:. This type of conservator is differentiated from other specialists because they treat a broad range of objects and material types. This classification of material includes
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materials, such as paints, become more brittle and fragile. Some objects contain materials that will deform and weaken, or even melt, above a certain temperature.
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is a risk to both objects and their collections, both humans and inanimate objects. Museums, libraries, archives and private collections are vulnerable to
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states that: "In the long term, it , is the most efficient form of conservation, not only for museums, but particularly for libraries and collections of
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681:: stripping involves dipping the piece in a chemical bath that will remove finish, patina, and in some cases the glue holding the piece together.
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Composite items are made up of individual materials referred to as constituent materials. There are two main categories of constituent materials:
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heats the surface of objects, which is a form of incorrect temperature. Different deterioration phenomena often occur simultaneously.
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is a type of an inorganic object. Treatment for such objects can vary depending on the purpose of the use or its stability. When
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are restored by trained aircraft engineers assisted by volunteers, some of whom are men who flew those same aircraft years ago.
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upon acquiring a new piece, the main goal of restoration is to "restore" the original appearance or functionality of a piece.
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drafted initially for our own use, it was first introduced to the profession by
Jonathan Ashley-Smith at a conference at
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are grouped into a range of compounds that can have chemical reactions with any component of an object. Pollutants can be
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A brief extract of the checklist demonstrates its question-driven approach, in place of a more directive approach:
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causes damage and results from natural occurrences, technological hazards, or mechanical failures. Many cases of
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aspects of the objects. In some cases, fine particles deposited on an object's surface can be strongly bonded."
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Testing material from composite objects is a vital tool to help reduce or prevent further deterioration from
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in their facilities, security measures, or visitors. There are many systems of control that help to prevent
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Have I considered and weighted the factors contributing to the identity and significance of the object(s)?
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are the results of both direct and indirect actions that impact both objects and their surroundings. "
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during the 18th and 19th centuries, pushed aside by the efficient advantage of modern methods in the
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Regardless of the ethics protocol followed, ethics plays an important role in object conservation.
675:: Bringing a piece back to close to its original condition including structural and finish repairs.
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What are my options for action which will produce an appropriate result with minimum intervention?
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more prone to damage), or safety precautions that the museum has invested in. Fires also create
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Sansonetti, Antonio; Colella, Mario; Letardi, Paola; Salvadori, Barbara; Striova, Jana (2015).
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between objects or object parts. Damage from physical force ranges from imperceptible hairline
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American
Institute for Conservation (AIC); Foundation for Advancement in Conservation (FAIC).
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deposits which can cause discoloration, dull surface textures, and permanently alter objects.
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1337:"Laser cleaning of a nineteenth-century bronze sculpture:In situmulti-analytical evaluation"
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and often requires collaborative work between museum staff, scientists, and conservators.
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that can effectively remove layers of built-up "calcareous and siliceous encrustation"
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collections. In order to direct and guide their actions organizations follow ethical
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54:. Conservation encompasses all the actions taken toward the long-term preservation of
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895:"About The Met /Conservation and Scientific Research /Objects Conservation"
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causes yellowing, chalking, weakening, and/or disintegration of materials.
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Conservation-how science helps preserve history | UNC-TV Science
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Conservation and Scientific Research at The Metropolitan Museum of Art
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1416:"Selection of Materials for the Storage or Display of Museum Objects"
1403:"Selection of Materials for the Storage or Display of Museum Objects"
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1377:"Selection of Materials for the Storage or Display of Museum Objects"
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Restorers are often trained craftspersons, such as furniture makers,
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complete understanding of the material. Organic objects can involve "
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available resources when it comes to caring for their collections.
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effects a wide range of object materials and storage solutions.
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is another source of deterioration. There are several ways that
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1234:"Removing Mould from Leather – Canadian Conservation Institute"
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Antique painting and frame restoration: before and after photo
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Conservation and restoration of immovable cultural property
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Conservation and restoration of immovable cultural property
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conservation requirements for objects in their collection.
411:, restructuring, and polishing can be used for treatments.
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opportunities which provide an attractive lure for pests.
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is present in most environments, even in enclosed areas. "
1859:
Conservation and restoration of movable cultural property
28:
Conservation and restoration of movable cultural property
2245:
Digital repository audit method based on risk assessment
737:
Have I consulted stakeholders, peers, other specialists?
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include "gold, silver, copper, iron, lead, tin, nickel,
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Conservation-restoration of the Sistine Chapel frescoes
922:"About the Master's Degree Program in Art Conservation"
1613:
Case Study of Antique Restoration Work For BBC TV Show
1691:
Davis Kho January 28, 2009, Nancy (28 January 2009).
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2947:Conservation and restoration of cultural heritage
2898:Conservation-restoration of the Statue of Liberty
2034:Mold control and prevention (library and archive)
1849:Conservation and restoration of cultural property
1217:"The Nature of Conservation: A Race against Time"
777:Conservation and restoration of cultural property
2921:Preservation Metadata: Implementation Strategies
2911:Conservation response to flood of Arno, Florence
2875:Conservation-restoration of Leonardo da Vinci's
726:V&A Conservation Department Ethics Checklist
434:". Metal sculptures are prone to corrosion from
115:List of dates in the history of art conservation
2916:Modern and Contemporary Art Research Initiative
2888:Conservation-restoration of the Shroud of Turin
1139:Institute, Canadian Conservation (2017-09-22).
1114:Institute, Canadian Conservation (2017-09-22).
1089:Institute, Canadian Conservation (2017-09-22).
1064:Institute, Canadian Conservation (2017-09-22).
1039:Institute, Canadian Conservation (2017-09-22).
1014:Institute, Canadian Conservation (2017-09-22).
989:Institute, Canadian Conservation (2017-09-22).
964:Institute, Canadian Conservation (2017-09-22).
939:Institute, Canadian Conservation (2017-09-22).
2852:Conservation issues of Pompeii and Herculaneum
2009:Integrated pest management (cultural property)
827:, one who fixes or restores mechanical watches
578:. Often done in preparation for sale, or by a
318:to rodents, insects, and birds. An effective
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8:
1523:"Code of Ethics and Guidelines for Practice"
802:, restoration of clothing and other textiles
1713:: CS1 maint: numeric names: authors list (
1455:The Getty Conservation Institute Newsletter
2417:Books, manuscripts, documents and ephemera
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1283:Kari Dodson, Emily Hamilton, Julie Unruh,
1964:Disaster preparedness (cultural property)
1430:"Course outline: Preventive Conservation"
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766:or for competition in a classic car race
1864:Conservation science (cultural property)
1553:. V&A Trustees Collections Committee
1550:Collections care and conservation policy
816:, furniture, appliances, equipment, etc.
1666:Risk Assessment for Object Conservation
1493:"Restoring antiques a nearly lost art."
1323:American Institute of Conservation Wiki
1306:American Institute of Conservation Wiki
1289:American Institute of Conservation Wiki
1272:American Institute of Conservation Wiki
1255:American Institute of Conservation Wiki
837:
235:can damage objects directly by causing
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1693:"Restoring antiques a nearly lost art"
1577:"The Ethics Checklist - ten years on"
7:
1676:The Care and Handling of Art Objects
1317:Christopher Watters, Jeneva Wright,
1300:Christopher Watters, Jeneva Wright,
1661:Contemporary Theory of Conservation
1656:The Ethics of Conservation Practice
1547:Victoria and Albert Museum (2019).
1180:American Institute for Conservation
1164:Chapter 5: Biological Infestations
706:American Institute for Conservation
485:Risk management (cultural property)
2049:Preservation (library and archive)
1725:. Web design by Sund & Company
493:Preservation (library and archive)
25:
991:"Light, ultraviolet and infrared"
320:Museum integrated pest management
69:Object conservation involves the
2903:Conservation-restoration of the
2779:Indigenous intellectual property
1738:Saperstein, Eric & Stanley.
1618:Antique Silver Photograph Frames
1583:(50). Victoria and Albert Museum
1354:10.1179/0039363015Z.000000000204
728:(Second Edition; December 2004)
2014:Inventory (library and archive)
1914:Cultural property documentation
1740:"The Philosophy of Restoration"
1509:"The Philosophy of Restoration"
715:Some institutions, such as the
704:such as the one created by the
620:" was the industry standard in
215:Inappropriate relative humidity
130:Louise E. du Pont Crowninshield
2412:Bone, horn, and antler objects
1954:Digital photograph restoration
1507:Eric & Stanley Saperstein
1449:Levin, Jeffrey (Winter 1992).
1221:Getty Conservation Institution
1:
2597:South Asian household shrines
2295:Reconstruction (architecture)
2225:Cultural property radiography
2182:Registrar (cultural property)
1934:Cultural resources management
1894:Collections management system
1041:"Incorrect relative humidity"
296:Burglars, thieves and vandals
30:is a term used to denote the
2866:Conservation-restoration of
2857:Conservation-restoration of
2230:Detachment of wall paintings
2004:Intangible cultural heritage
1919:Cultural property exhibition
1904:Cultural heritage management
1418:, "The British Museum", 2004
1405:, "The British Museum", 2004
1392:, "The British Museum", 1995
1379:, "The British Museum", 2004
509:Getty Conservation Institute
2310:Transfer of panel paintings
1671:AIC Objects Specialty Group
1591:– via www.vam.ac.uk.
274:Dust and chemical pollution
2963:
2774:Heritage language learning
2044:Optical media preservation
1414:D. Thickett and R.L. Lee,
1401:D. Thickett and R.L. Lee,
1375:D. Thickett and R.L. Lee,
1204:The University of Delaware
717:Victoria and Albert Museum
482:
143:
112:
2814:Oral history preservation
1929:Cultural property storage
1924:Cultural property imaging
1695:. San Francisco Chronicle
1575:Richmond, Alison (2005).
1451:"Preventive Conservation"
850:www.conservation-wiki.com
734:Have I consulted records?
331:Item materials vary from
200:Inappropriate temperature
2861:by ElĂas GarcĂa MartĂnez
2079:Sustainable preservation
1635:Franklin Furnace Archive
1527:www.culturalheritage.org
920:University of Delaware.
327:Item materials and types
71:Conservation-restoration
2819:Preservation of meaning
2804:Language revitalization
2472:Illuminated manuscripts
2250:Historic paint analysis
2142:Conservation technician
1944:Deaccessioning (museum)
1884:Collections maintenance
1809:Agents of deterioration
1496:San Francisco Chronicle
1341:Studies in Conservation
1016:"Incorrect temperature"
556:National Museum, Warsaw
504:preventive conservation
489:Collections maintenance
479:Preventive conservation
146:Agents of deterioration
140:Causes of deterioration
2829:Tradition preservation
2482:Iron and steel objects
2371:Outdoor bronze objects
2315:UVC-based preservation
2172:Photograph conservator
2137:Conservation scientist
1889:Collections management
1819:Archaeological science
1723:"Paintings and Frames"
1480:"Paintings and Frames"
871:"What is conservation"
758:Automotive restoration
566:
558:
554:Antiques restoration,
122:University of Delaware
2834:Traditional knowledge
2799:Language preservation
2407:Ancient Greek pottery
2305:Textile stabilization
2167:Paintings conservator
2054:Preservation metadata
1939:Database preservation
1793:historic preservation
1745:. Online Horton Brass
1141:"Thieves and vandals"
731:Why is action needed?
626:Industrial Revolution
564:
553:
311:from ever occurring.
132:Research Building at
2622:Time-based media art
2432:Copper-based objects
2346:Archaeological sites
2275:Mass deacidification
2220:Cradling (paintings)
2132:Conservator-restorer
1959:Digital preservation
1623:Antique Conservation
1581:Conservation Journal
1511:December 2002 page 5
1388:Green and Thickett,
1238:Government of Canada
1193:"Objects Laboratory"
926:www.artcons.udel.edu
790:Cosmetic restoration
2926:World Heritage Site
2789:Indigenous language
2689:Endangered language
2587:Shipwreck artifacts
2567:Photographic plates
2517:Musical instruments
2270:Lining of paintings
2187:Textile conservator
2162:Objects conservator
2152:Exhibition designer
2059:Preservation survey
1984:Found in collection
1874:Collection (museum)
1844:Calendar (archives)
1814:Archival processing
1498:. January 28, 2009.
763:Concours d'Elegance
52:private collections
18:Antique restoration
2784:Indigenous culture
2127:Collection manager
2024:Media preservation
2019:Inventory (museum)
1879:Collection catalog
1595:The British Museum
1461:(1). www.getty.edu
1198:2020-06-07 at the
800:Fabric restoration
649:Finish restoration
567:
559:
500:Yarmouk University
2934:
2933:
2883:Pompeian frescoes
2769:Heritage language
2659:cultural heritage
2447:Flags and banners
2392:cultural property
2356:Heritage railways
2336:cultural property
2285:Paleo-inspiration
1969:Film preservation
1909:Cultural property
1899:Cultural heritage
1789:Cultural heritage
1637:(conservation of
1491:Nancy Davis Kho.
1066:"Physical forces"
502:, Jordan defines
219:Relative humidity
190:Ultraviolet light
56:cultural heritage
36:cultural property
16:(Redirected from
2954:
2870:by Thomas Eakins
2868:The Gross Clinic
2764:Folklore studies
2674:Applied folklore
2647:Wooden furniture
2642:Wooden artifacts
2637:Woodblock prints
2617:Tibetan thangkas
2477:Insect specimens
2366:Outdoor artworks
2361:Historic gardens
1994:Heritage science
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535:is restoring an
166:, and swelling.
126:Newark, Delaware
103:contemporary art
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2734:Folk instrument
2709:Family folklore
2699:Ethnomusicology
2694:Ethnochoreology
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2557:Performance art
2542:Panel paintings
2537:Painting frames
2502:Leather objects
2422:Ceramic objects
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2749:Folk process
2704:Ethnopoetics
2662:preservation
2522:Neon objects
2395:by item type
2386:Conservation
2385:
2339:by item type
2330:Conservation
2280:Overpainting
2240:Display case
2069:Repatriation
1858:
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1727:. Retrieved
1697:. Retrieved
1592:
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1580:
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1555:. Retrieved
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1144:
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1119:
1116:"Pollutants"
1109:
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655:Preservation
643:Conservation
615:
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545:conservation
532:
531:
513:ethnographic
503:
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441:Nd:YAG laser
430:, and their
422:, aluminum,
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263:Dissociation
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169:
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164:delamination
155:water damage
150:
149:
118:
87:ethnographic
75:preservation
68:
32:conservation
27:
26:
2905:H.L. Hunley
2684:Early music
2632:Vinyl discs
2627:Totem poles
2562:Photographs
2507:Lighthouses
2497:Lacquerware
2452:Fur objects
2390:of movable
2320:VisualAudio
2265:Leafcasting
2210:Anastylosis
2157:Mount maker
2117:Art handler
1974:Finding aid
1824:Archaeology
1749:10 December
1729:10 December
1699:30 November
1347:: S28–S33.
901:. 2000–2019
875:icon.org.uk
794:refinishing
673:Restoration
661:Refinishing
637:Terminology
603:metalsmiths
572:automobiles
539:or work of
533:Restoration
528:Restoration
204:temperature
160:mold growth
64:conservator
34:of movable
2744:Folk music
2724:Folk dance
2657:Intangible
2255:Inpainting
2122:Auctioneer
2112:Art dealer
2064:Provenance
1869:Collecting
1802:and issues
1641:including
1587:24 October
1564:Policy PDF
1557:24 October
1532:24 October
1482:2000-2010.
1465:24 October
1437:unesco.org
1285:"Ceramics"
1150:2019-12-12
1125:2019-12-12
1100:2019-12-12
1075:2019-12-11
1050:2019-12-11
1025:2019-12-11
1000:2019-12-11
975:2019-12-11
950:2019-12-11
899:Met Museum
880:2019-12-10
855:2019-12-10
832:References
825:Watchmaker
806:Renovation
588:patination
409:inpainting
278:Pollutants
134:Winterthur
113:See also:
91:historical
2859:Ecce Homo
2754:Folk play
2607:Taxidermy
2552:Parchment
2532:Paintings
2107:Archivist
1709:cite news
1363:191330552
679:Stripping
599:mechanics
580:collector
576:furniture
472:Oddy test
447:Composite
414:Types of
395:Inorganic
341:composite
337:inorganic
309:vandalism
290:aesthetic
268:ownership
249:vibration
241:collision
223:corrosion
209:polymeric
95:sculpture
60:fine arts
40:libraries
38:items in
2941:Category
2845:projects
2759:Foodways
2719:Folk art
2714:Folklore
2612:Textiles
2462:Herbaria
2437:Feathers
2402:Aircraft
2260:Kintsugi
2084:Treasure
1629:See also
1597:in 1994.
1319:"Metals"
1302:"Metals"
1196:Archived
814:vehicles
752:See also
630:Lacquers
521:geologic
428:titanium
424:chromium
404:ceramics
400:Ceramics
360:, horn,
354:feathers
346:plastics
286:aerosols
257:abrasion
253:pressure
245:fissures
237:rotation
44:archives
2843:Notable
2547:Papyrus
2492:Judaica
2351:Frescos
2196:Methods
2147:Curator
1829:Archive
941:"Water"
708:(AIC).
686:Salvage
537:antique
381:Leather
376:Organic
350:leather
333:organic
109:History
48:museums
2512:Metals
2427:Clocks
2039:Museum
2029:Midden
1800:Topics
1361:
1325:, 2011
1308:, 2011
1291:, 2012
1274:, 2016
1268:"Wood"
1266:n.d.,
1257:, 2016
1251:"Wood"
1249:n.d.,
1240:, 1993
1232:n.d.,
1223:, 1986
1206:, 2018
1191:n.d.,
1182:, 1994
966:"Fire"
869:Icon.
695:Ethics
667:Repair
622:Europe
519:, and
491:, and
459:) and
457:binder
453:matrix
432:alloys
416:metals
339:, and
255:; and
101:, and
2098:Roles
2074:Ruins
1979:Fonds
1743:(PDF)
1433:(PDF)
1359:S2CID
1174:AIC,
601:, or
362:ivory
315:Pests
305:theft
282:gases
185:Light
151:Water
77:of a
2442:Film
1839:Book
1791:and
1751:2012
1731:2012
1715:link
1701:2012
1589:2021
1559:2021
1534:2021
1467:2021
907:2019
808:and
792:(or
420:zinc
388:Wood
370:wood
366:hair
358:bone
307:and
179:soot
174:fire
170:Fire
73:and
50:and
1349:doi
1145:aem
1120:aem
1095:aem
1070:aem
1045:aem
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970:aem
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