During the Art on Paper Discussion Group, the speakers introduced different artist material reference collections that may be accessed by conservators/the public, many of which will soon be made more accessible through searchable, online platforms. All speakers highlighted the various functions of these important reference collections including providing historical context to artworks; aiding in identification of materials and media; and for providing insights that may guide preservation or conservation treatment. They also gave examples of how the references collections have been useful to them. While I was unable to stay for the discussion panel, I will summarize the information shared during the presentations (abstract).
Michelle Facini introduced the Paper Sample Collection at the National Gallery. The collection focuses on papers made specifically for art making. There are 3,000 samples and the collection continues to grow. Many of the samples in the collection came from suppliers of art materials, like The Japanese Paper Company, or from collections that belonged to papermaking companies. Facini explained that samples have been used for testing conservation treatment methods to anticipate effects of treatments on the same types of paper used in works of art in the collection. The Paper Sample Collection may also help gauge what color certain papers might have looked like when they were first used by artist, providing a sense of how the artwork has changed over time. She also described a moment when the Paper Sample Collection helped to identify an unusual watermark as one used in Shogun Paper, a paper used in 1915 for administrative purposes. More information about the papers that will provide more context to the samples is being collected in a database that will be useful for searching the collection.
Margaret Holben Ellis emphasized the value of reference collections to inform treatment practices with a specific focus on the changes in materials as they age, like changes in the tone of papers with optical brightening agents or sinking issues of certain porous pen inks. Holben Ellis also explained that a comprehensive collection of artist materials aids in more accurate identification of media used to create artworks. She used the Flo-Master porous pen as an example. The pen had interchangeable felt nibs and re-fillable reservoirs that would allow the artist to make a range of different marks in different colors with a single pen. By having a set of these different nibs, conservators may be able to recognize its use in artwork. Holben Ellis explained that the use and construction of these materials can be transferred into our current practice. For example, the metal, re-fillable reservoir of the Flo-Master pen could be used in conservation practice to make solvent pens for testing media solubility or water pens for water tearing Japanese papers.
Jodie Utter and Marjorie Shelley, discussed the need for and work involved in making these reference collections available to the public. Shelley described the beautiful items collected by The MET including artists’ mannequins, Claude Mirrors, and wooden brayers for making decorative papers. She emphasized the importance of collecting these kinds of more utilitarian materials associated with making art because it is much more difficult to find good examples of these less glorious materials. Shelly also gave examples of how the reference collection has helped with identification of media or materials in works of art in the collection. The reference collection is part of the paper lab and is not searchable like the catalogued collections. They are currently working to find a way to make the reference collection accessible.
Jodie Utter described the work that she and the archivists at the Amon Carter Museum of American Art have been doing to make their artists’ materials reference collection available to the public. EMu software was chosen to create the database for the reference collection because of its flexibility in handling multiple items in a single entry. Accession numbers were assigned to each group of materials, say an artist’s watercolor box with pigments, brushes, pencils, and other related accessories. Then each of the components within the watercolor box were assigned numbers within that grouping. Take this number for example: 2019.230.001, the first is the year it is accessioned followed by the group number assigned to something like a watercolor box followed by the item number for each item in the box like a brush or watercolor pan etc. This was an exciting idea because it allows each piece to be pulled for exhibition or study and returned to its proper place. This could also allow information about each component to have information entered into Emu. Utter explained that during the process of accessioning the artist materials, photographs were taken of each grouping with the accession numbers for each piece written on temporary paper labels placed next to or on the item. This provided an additional visual record of the original grouping for the archive. After cataloguing, the objects were prepared for storage. Accession numbers were made into labels and attached to storage packaging. Small tubes of paint were placed into bags also protect from oozing or provide a slight barrier for lead tubes. Other items were wrapped in tissue. Once wrapped, the items were put into labeled boxes. This reference collection at the Amon Carter will soon be accessible through the museum’s archives on their new website.
Amanda Hunter Johnson introduced the artists’ materials reference collection at the San Francisco Museum of Modern Art. The collection consists of both collected and donated materials. The materials are beautifully stored/displayed in a two-story tall tower that goes through the Collections Workroom and the Conservation Center. The materials are mounted onto panels with magnets, placed in drawers, or mounted with light boxes that can be turned on and off. The storage/display of the collection in these spaces helps incorporate the materials into daily work at the museum. It also serves as an immediately accessible reference encouraging more consistent use. This accessibility of the collection to conservators allows the transfer of information from the reference collection to their conservation practice. The materials are also available to students and scholars. The incorporation of the collection into the public’s experience when visitng the museum, sheds light onto the process of creating artwork.
Joseph Barabe shared his work with pigment identification and described the reference library he has created consisting of dry and mounted pigments. He creates pigment reference sets with pigments from different known collections as well as samples of the same type of pigment from different sources. Barabe encouraged the audience to continually look at examples and practice pigment analysis to train the eye and develop the skill of identifying pigments and printing processes. He also recommended the New Zealand Police Printing Process Manual as a good reference for print identification. It is good for conservators to be aware of these sources outside of museums for artist material references.
Dr. Andrew Davis introduced the Library of Congress’s Center for the Library’s Analytical Scientific Samples (CLASS). This reference collection holds samples that are non-library items and available for testing. CLASS will also have CLASS-D (D for digital) a database that will hold the information collected through non-destructive scientific analysis conducted on library collection items. The Preservation Research and Testing Division have developed a process to streamline non-destructive testing and maximize data collection on Library collection items when there is a request within the institution for this service. Once the analysis is completed it will be added to CLASS-D. This information will be made accessible to the public for information transfer and further research.
It was great to learn about the many different collections of artists’ materials especially with recent publications about specific artists’ use of materials related to works of art on paper like Charles Russell, John Singer Sargent and James McNeill Whistler. It will be interesting to see how they influence conservation practice and history of art or artists’ practice as they become more accessible through online platforms. Reference collections highlighted during the discussion group:
Paper Sample Collection at The National Gallery of Art
- Consists of 3,000 papers that were created specifically for making artwork.
- Samples have been collected or donated and they are continuing to expand the collection.
- Work is being done to add information to the database to provide more context and understanding to each sample.
Rare Artist Materials at The Metropolitan Museum of Art in the Paper Lab
- Consists of artist materials and related accessories such as artist mannequins etc.
- Currently part of the Paper Conservation lab but working to make the reference collection accessible.
Artists Materials Reference Collection at the Amon Carter Museum of American Art
- Consists of pigments, related advertisements and samples, and manuals.
- Will soon be accessible through the museum’s archives on the new website.
Artists’ Materials Archive at the San Francisco Museum of Modern Art
- Collecting or receiving donations of materials used by modern and contemporary artists.
- The collection is incorporated in the Collections Workroom used by visitors and the Conservation Center, making them present and immediately accessible when working with art or learning about art. Click here to see pictures of the set up designed by Samuel Anderson Architects.
Barabe & Associates LLC pigment sample sets
- Has amassed a large pigment reference collection and sells pigment sample reference sets for pigment identification.
- Instructs on examination of artwork, documents, and historical object analysis.
Center for the Library’s Analytical Scientific Samples (CLASS) and CLASS-Digital at the Library of Congress
- CLASS houses reference samples including TAPPI fiber collection, Forbes Pigment Collection, Barrow’s Book Collection, among other things.
- CLASS-D will provide a database of data collected from research/non-destructive analysis conducted on Library collection items.
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