Happy New Year!

As we come to the end of 2018, we take a moment to look back at the year. The projects completed and history preserved. The new and interesting places work has taken us this last year. From leading a magnets workshop at Dartmouth to assisting with the hurricane aftermath in Puerto Rico, even multiple trips across the Atlantic to present at conferences. 2018 has been a wonderfully busy year at Spicer Art Conservation.

For our traditional holiday card this year we featured pictures from some of the many items that were treated in the studio this year, including a signed print by Victor Vasarely and a portrait of Mr. Albert N. Briggs. The lovely 1909 Wedding Dress was restored to its former beauty and packed so it will last for many more generations and a silk souvenir from the 1893 World’s Columbian Exposition in Chicago was framed for display. Fire damaged items often make their way into the studio to be cleaned and repaired, such as the painted Norwegian bench which after cleaning was stunning in its color and style.

The summer of 2018 also saw a 1910 Stoddard-Dayton Limousine brought into the studio for work on the interior upholstery. To read more about this treatment check out the blog that written shortly after the treatment was completed.

Finally, when not hard at work in the studio treating objects, Gwen was busy putting the finishing touches on her new book, Magnetic Mounting Systems for Museums & Cultural Institutions, which will be out in early 2019. As a part of her continuing work with magnets, Gwen took many trips this past year, hosting workshops and presenting at different conferences both here and abroad. In her “spare time” she also went down to Puerto Rico to assist with the post hurricane damage assessment of their cultural heritage.

We hope you have enjoyed this little look back at 2018 with us and while we look forward to another exiting and fun filled year, we wish you a wonderful 2019!

Gwen, Mark, and Kimberly

Spicer Art Conservation LLC

Conserving the Details From a Poet's Life

Edna St. Vincent Millay in 1914

A conservator's work often entails dealing with art and artifacts that span the spectrum from the truly spectacular to the mundane. All need to be treated with the same respect no matter their type or provenance, and the conservator's training allows her to see and understand the importance of each and every item in her care.

Passing through the conservator's studio a couple of years ago were some everyday objects belonging to one of America's most respected and successful poets. Born in 1892, Edna St. Vincent Millay grew up in a household with a strong, independent mother who took an intense interest in seeing her daughter exposed to a broad and liberal cultural education. Millay flourished in this environment, went on to graduate from Vassar College, and become a Pulitzer Prize-winning writer and feminist activist. 

Millay spent the last twenty-five years of her life with her husband at their home, called Steepletop, in Austerlitz, NY. Today the house still holds all of her furniture, her books and other possessions, many of which remain where they were on the day she died in 1950. The site is maintained by the nonprofit Edna St. Vincent Millay Society. 

Steepletop as it appears today

Enter the conservator sixty-five years after Millay's death. Three items -- a pastel portrait of Millay, a lampshade, and a Do Not Disturb hotel sign -- were all in need of treatment. 

The large portrait (30 x 25 inches) had been executed in 1937 on a dense laminated board by illustrator and portrait painter Neysa McMein for McCall's magazine. Because of Steepletop's humid environment, mold was present, as was staining, on Millay's face and the background. Extensive dirt and debris were found when the frame was opened during initial examination. The goal of the treatment was to compensate for the mold damage and reframe the picture using archival materials. The backing board and matting were removed and discarded, mold residue was removed and the staining was in-painted with a similar type of medium. Reassembly required attaching the portrait to acid-free board with Japanese paper hinges, creating a new window mat of acid-free board, cleaning the frame and adding glass with ultraviolet filtering.

Before and after treatment of Edna's portrait.

The early 20th century lampshade consisted of six paper panels containing three alternating bird prints. Not only was the shade dirty from coal soot, the metal support at its top had separated from the paper and it had been repaired with tape. It appeared that a coating, possibly to imitate thin wood veneer, had been allied to the panels. Compounding the condition were losses at the edges of the shade and a 3-inch tear with smaller tears radiating out from it. The focus of the treatment was to secure the metal support and mend the tear with Japanese paper and wheat starch paste. Creases and paper distortions were reduced through humidification.

The most curious artifact of all was the circa 1927 paper sign reading "DO NOT DISTURB / THE COPLEY-PLAZA / BOSTON, MASSACHUSETTS", which hung from the doorknob by a string. What would be an occasion that would cause someone to keep such a memento? It's interesting that Millay was in Boston along with other writers in August 1927 to protest the verdict of Sacco and Vanzetti and was arrested for her participation. Her prominence afforded her a meeting with the governor where she made the case of Sacco and Vanzetti's innocence. Could a simple hotel sign symbolize such an important event?

Before and after treatment of the sign

As often happens with ephemera, careless use or storage often get the better of it. The paper had separated into three pieces, there were tears around the string holes, and fragments of the sign had torn away. The cotton string was kinked, creased, knotted and dirty. After cleaning, the sign was reinforced with acid-free board for additional support and the tears were mended with Japanese tissue and wheat starch paste. Losses were replaced by toned Japanese tissue and in-painted as necessary. Lastly, a support stand was created for the sign.

Mold on Pastel Portraits, why it grows and how it can be prevented

by Gwen Spicer and Barbara Owens
At Spicer Art Conservation, we treat many pastel works of art. Commonly they are portraits, but sometimes the occasional landscape or still life appears.

With few exceptions, the treatment of pastels is focused on the removal of surface mold (Above: before treatment close-up of mold damage on left, at right, overall after treatment photo). For many clients the mold present on their artwork is disfiguring and distracts from the enjoyment of the viewer, but it also serves as a "canary in a coal mine" because mold often grows in a perfect environment where temperature, and relative humidity, along with surface debris or dust has formed the perfect habitat for mold to flourish. If mold has bloomed, the environment has supported it, and if mold has bloomed on one artifact it may happen on others. For museum collections this can be of particular concern as collection are housed together, in one room or space. (Keep in mind that mold loves organic materials and we often see it on artifacts composed of wood, leather, feather, etc.)

A pastel portrait after it has been removed from its frame.
Here you can see at the lower border edge that the blue pastel
particles had fallen behind the mat.  

Closeup image of the mold that has bloomed. 

After treatment, the mold has been neutralized and is not
disfiguring. Can it come back? Yes, given the right conditions
of temperature, relative humidity, and light, it could grow again.

After treatment and reframing. Pastels are always framed with
glass because the static charge present on plexiglas will have
an effect on the small loose particles of pastel dust.

The number of pastels with mold present far outnumbers any other works of art on paper with mold present. Why is this? The answer lays much in the inherent nature of pastels. Other colored works of art (whether they are paintings or watercolors) all have some portion of binding material that protect the colored pigment. The more binder, the more protection and the more "stable" the pigment vehicle. The more binder also means the more ability for an art conservator to clean the surface. If a large amount of binder is present, the pigment vehicle (oil paint for instance) is more solid. For more information on pigments and their binders see the information below about paint.

The above is a slide from a lecture given by Carl Plansky of Williamsburg Paint.

Unlike other pigment applications, pastels have almost completely unbounded pigment with the tiniest amount of binder. Mostly the pigment particles simply rest on the surface of the paper. The selection of the paper that some artists use also assists with the adherence of the pastel to the paper, as that there are special rough surfaced papers designed especially for pastels that help to "grab" the pastel particles. But these papers are not always what the artist has used.

George L. Stout of "Monuments Men" fame produced the most effective schematic of illustrating the various types of surfaces and the "tooth" of the media. His illustration, "Classes of Simple Paint Structure" was first produced in Technical Studies Volume VI, 1938, page 231 (Technical Studies later became Studies in Conservation). See below.

From the illustration above, pastel is classified along with chalk and charcoal as granular and loose. What might be harder to read is the arrows near the center of the page which show that as you move from left to right, the absorption and transmission of light is increasing. If you think of looking at a pastel it appears flat, whereas if you look at an oil painting, or even at acrylic paints with a glazed surface, it has reflective properties and might even be described as shiny.

The presence of binders around pigment particles creates different optical effects, and more or less saturation of color. One of the beauties of pastels is the full situation of the pigment, that it is only the pigment that one sees. It is these exposed pigment particles that become the surface from which the mold grows. According to Kit Gentry, "Mold loves pastel. Dense, fluffy, mineral-rich layers of pastel are basically like potting soil for mold". Well said.

Pastels cannot be easily cleaned for a number of reasons, but especially important to the growth of mold is that dirt is attracted to the rough surface (even when protected by a frame with glass or plexiglas). The dirt then becomes a food source for the mold. The challenge then becomes removing the mold without removing the small particles of pigment which are loosely held to the surface and can easily be dislodged from the surface.

Gwen Spicer, principal conservator at Spicer Art Conservation cleaning
mold from the surface of paper. Here the mold is being vacuumed using a
method to capture the mold in a water chamber. Gwen wears gloves, mask
and eye protection. This mold cleaning is a bit different in that the mold
here is growing on the paper board, no pastel is present in this particular
 area of the artwork.

Often mold follows a particular path on the pastel, or is isolated to one pastel color, or one particular area. This odd behavior can probably be explained in that mold follows the source of food, so while you may not be able to see it, the "food" is there. Mold can be fluffy, flat, green, white, blue, etc. the variety of colors shapes and configurations tells us that many species are present, and they are opportunistic.

The mold covering this pastel covered the entire
surface, it is more noticeable on the dress of
the subject because of the dark color.

The question of why some older pastels do not have the same number of mold outbreaks has been discussed. Some experts believe that the copper, lead, cadmium, and other heavy metals and elements used in the early production of pastels are what keeps mold at bay on these very old drawing and paintings. Apparently these elements are naturally mold resistant, but of course poisonous to humans, and so are not used in the formulation of pastels the way they were in centuries past (that is not to say that pastels no longer contain hazardous materials).

There are important things to know about mold. There are 1,000's of known mold species. Mold is often dormant, not dead. Mold is omnipresent, therefore you will never be without; mold spores are airborne and therefore are in the air we breathe. Mold species have diverse lifestyles and can vary significantly in their tolerance to temperature and humidity.

We have heard from clients with mold affected pastels who say, "but my house is dry, there is no way mold should grow there". Remember, mold can certainly be kept in check, but it can generally bloom (or re-bloom) if relative humidity increases to 50% or higher, and if temperatures increase above 70   degrees F (this environment most certainly describes anyones home). However, we know that mold grows above 39 degrees F (hence is why food is refrigerated below this temperature) AND we know that mold also grows in our refrigerator which is often below 39 degrees F. The point is that mold is opportunistic and some form of it can grow nearly anywhere under any conditions.

The chart above shows the zone for "optimal mold growth" in blue. Also shown is the ideal conditions
for artifacts as well as human comfort zone.

The lesson here for keeping mold away is that pastels must be kept as clean as possible. This might mean reframing a pastel before dirt enters an unsealed frame and therefore before mold even gets the chance to grow. Any torn or broken dust paper at the back of an old frame is an entry point for dirt and debris to find its way into the frame package. Conservators have in the last few years made tremendous progress on methods of framing, creating a sealed archival package around the matted artifact, and then sealing the frame as well. This is really now made possible with truly archival materials. Once created, the sealed package is then secured into the frame (either a new frame or into the original frame). With this method, it is no longer necessary to secure dust papers to the back of the frame (see image below).

The sealing of a package of archival mounting materials with conservation
approved sealing tape. This sealed inner package will be placed into a frame
with archival materials, the frame will then be sealed (see image below).

The reverse side of a framed pastel, the pastel is framed with archival materials,
including acid free board and framers tape to seal the edges to prevent debris, dust,
or insects from entering the frame. Inside of the frame is the sealed package of
glazing and the art work (see image above).

Be warned. There are some amazingly frightening suggestions to be found online to offer assistance with getting rid of mold. Including baking your pastel in an oven along with a potato, or spraying it with liquid moth balls, YIKES. A professional art conservator is once again the way to go. Seriously, don't mess around with crazy methods or those which use toxins. Seriously.

Lastly, placing a pastel with mold on it in direct sunlight as a method to deter or disable any mold is not a good idea. While it might disable the mold that is susceptible to light, the light damage to the pigment of the pastel are both cumulative and permanent.

For further reading, The Pastel Society of America has an informative website about everything you want to know about pastels. If you own a pre-1800's pastel, Neil Jeffares book, Dictionary of Pastellists Before 1800, talks about everything pastel before the 19th century, including conservation. You can also check out our "Inside the Conservator's Studio" blog posts about Mold in Collections, also our post on Environmental Conditions. Both are informative, but if you have concerns about a pastel and need a conservator to help, please contact us.

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Gwen Spicer is a conservator in private practice.  Spicer Art Conservation specializes in textile conservation, object conservation, and the conservation of works on paper.   To contact Gwen, please visit her website or send an email.

Conserving works on paper of the Native American traditions painted by Ernest Smith

by Gwen Spicer

Thanksgiving is fast approaching, and for me, I cannot help but think of corn.  While corn may not have been what you would have thought of, let me explain why it's on my mind.  Corn is everywhere.  Corn is a symbol of the autumnal season.  "Indian corn" with it's beautiful brilliant colors are seen in decorations and corn stalks are tied together and grace lampposts everywhere.  The corn that grows at some of the farms near our studio is used to feed livestock and some cobs are harvested to be used as a fuel source.  And let us not forget corn kernnels, whether creamed or simply buttered, will undoubtedly appear on your Thanksgiving table, I know they will be on mine.

"Woman Preparing Corn" by Ernest Smith

Besides preparing for a big dinner with family, much of my time these days is spent working on items which will be included in an exhibit, "On the Trails of the Iroquois," which will take place in Germany next year.  Having the opportunity to treat such a wide array of Native American ethnology has been a tremendous experience.  I have also read a tremendous amount about the various collections, most notably those at the Rochester Museum and Science Center (RMSC) and the New York State Museum.  Collections of Iroquois ethnology exist due to a huge effort that went into capturing the true essence of daily life in the various tribes through actual objects, garments, illustrations and daguerroetypes by people such as Lewis Henry Morgan, and later by William Stiles.

Another important figure in the preservation of authentic Haudenosaunee (term used by the Iroquois to refer to themselves) was Arthur C. Parker, great-nephew of Caroline and Ely Parker (see blog post for 10/19/12) and director of the Rochester Museum of Arts and Sciences from 1924-1945.  In 1934, Arthur Parker initiated a program, The Works Progress Administration (WPA), to essentially rescue the native arts and crafts of the New York Indians before they were lost.

Washing corn after leaching by Ernest Smith

Parker sees that the world perceives American Indian art as nothing more than a souvenir industry dictated by Victorian tastes, which has caused it to be devoid of ethnological value.  He feared the extinction of traditional artistic methods and wanted to save as much as could be preserved.  However, Parker's vision was not just for preservation,  he also thought that a resurgence of true Indian art, and the instruction of these traditional styles to the next generation, would produce new art that may also offer a method of self-support to a financially struggling population.

Through the WPA, artists were provided with all the tools and materials they would need to create art.  This included access to photographs, illustrations, patterns, and tribal elders to provide oral history and folklore.  Most notably used are some of the original illustrations from Morgan.  In fact, if you look at the leggings and underskirt in the painting above, you will see that the woman pictured is "wearing" some of Caroline Parker's clothes.  Arthur Parker is clear however, that there is never any direction of what to create.  Instead, once the artists had been trained, they were encouraged to spontaneously produce their own original art.

Ernest Smith (1907-75), a Tonawanda Seneca, is one of these artists.  In the six years he spends with Arthur Parker and the WPA project, Smith produces 240 watercolor and oil paintings, each one capturing a moment of daily life or illustrating Native American mythology.  Smith's work is wonderful, and clearly some is more simplistic with the image centrally located in the painting, and the background is simply left in the color of the original board.  Other paintings (his "Sky Woman", for example) are the opposite: the paint covers every inch, the images have depth, light, shadow, and movement.  Smith's paintings are filled with symbolism and knowing what the symbols represent makes his work even that much more beautiful and complex.  It is in this way that Smith is truly able to "speak" through his paintings...if you know how to listen to his language.  Visit this link to RMSC: http://www3.rmsc.org/museum/exhibits/online/lhm/IAPpaintings.htm, here you will find beautiful photographs of their collection of Ernest Smith's paintings, plus an in-depth description of the story being told in each painting.

The Three Sisters and the Jo'ka:o turning the squash to ripen

Reverse side of the board that Ernest Smith used.

Ernest Smith, despite his incredible collection of work, remains virtually unknown.  His work survives at both RMSC and the NYS Museum as well as a small collection at the Iroquois Museum and the Smithsonian.
The WPA ended in 1942 when funding dried up and a fire destroyed the building used by the artists.  For all his efforts, Parker's vision was only partially fulfilled.  Art was produced and traditions were recorded.  But the artisans never quite experienced an appreciation for their own unique style and therefore never were successful in selling "real" native art.  The outside world had too strong of an influence and sadly the demand for Indian art reinterpreted into "souvenir style" was what sold, and so that is what artists produced if they wanted to sell their work and therefore survive.


If you would like to read more about the trade industry of the American Indian at this time and how it was effected by not only cultural influence, you must read, "Trading Identities - the Souvenir in Native American Art from the Northeast 1700-1900" by Ruth B. Phillips.  Also interesting is James Gifford's "The Predicament of Culture".  Both of these authors discuss the influence of culture on art and present the inevitable outcome when cultures clash.  It begs the question: is there really "pure" cultural art, or is art evolutionary as cultures develop?


While I ponder that question, I will be treating and cleaning the ethnology of the Haudenosaunee, thinking about Ernest Smith and how I wish he had painted on better archival quality board, and making corn bread for tomorrow's feast.  Ernest Smith's images of early Native American life is humbling and leaves me with an appreciation of how challenging life was for the subjects in his paintings.  It makes me especially thankful for family and traditions, no matter how they have changed.  


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Gwen Spicer is a textile conservator in private practice.  Spicer Art Conservation specializes in textile conservation, object conservation, and the conservation of works on paper.  Gwen's innovative treatment and mounting of flags and textiles is unrivaled.   To contact her, please visit her website.