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Pier Gustafson’s Father’s Suitcase is a one-of-a kind artwork.
X-rays can reveal a broken bone, but they can also give us information about what is happening inside inanimate objects.
By Catherine Coueignoux
Textile conservation looks at the ideal way to display a dip-dyed and hand-painted Moroccan woman’s headcover, or adghar ibrdane tasslit.
By Anne Getts
When Alan Sonfist’s work came to the Paintings Conservation department for treatment, my first thought was: This graphite drawing on canvas is more a drawing on a textile than it is a painting.
By José Luis Lazarte
It’s not just a simple knit 1, purl 2 project. Instead, it should carry the warning, “Requires Expert Supervision.”
By Sarah Gates
It had been sitting in the dark for years, unremarked upon. Its swirl of freshwater pearls, the imperial double eagle on the front, the decoration of thick gold braid on red velvet; none of it included in the simple description: “Woman’s Fez.”
In this post from the objects conservation lab, Catherine Coueignoux discusses a decorative technique known as marquetry used in the making of an 18th-century French writing table.
Genthe documented haunting scenes during the 1906 earthquake.
