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Conservation and Technical Research Collection
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Held at: Philadelphia Museum of Art Archives [Contact Us]Philadelphia Museum of Art, PO Box 7646, Philadelphia, PA 19101-7646
This is a finding aid. It is a description of archival material held at the Philadelphia Museum of Art Archives. Unless otherwise noted, the materials described below are physically available in their reading room, and not digitally available through the web.
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In the fall of 1939, the Philadelphia Museum of Art, under the direction of its curator of painting and sculpture, Henri Marceau, established its first on-site conservation laboratory. Prior to that period, freelance restorers would perform such work on pieces entrusted to the Museum. As Marceau noted in the January 1940 Bulletin, this practice gave the Museum little or no control over the person hired and the resulting work. The new laboratory not only allowed for monitored conservation work but also for technical research that encouraged a scientific approach to the problems of authenticity and identification. Using a variety of photographic methods, including infrared, ultraviolet and X-ray imaging, curators collected evidence about the authenticity of objects owned or considered for acquisition by the Museum, as well as works on loan for special exhibit. Photographic records also allowed for a thorough documentation of an object's condition and all steps of conservation work performed. Other technical shops within the laboratory were equipped for working with wood, metal and stone, and for tasks such as cleaning, relining and restoring paintings on various supports.
The Museum's commitment to a more regimented program of conservation and technical research came at a time when such issues were receiving worldwide attention. Credited with having a profound impact on the approach to object conservation, the Fogg Art Museum established its Conservation Department in 1928 as a center for such work in the field of fine arts. During the 1930s, Marceau, as curator of the John G. Johnson collection of European paintings, was in close contact with the Fogg Museum's head conservator George L. Stout. During that period the Fogg performed much of the conservation work done to many paintings in the Johnson collection. In 1950, the International Institute for the Conservation of Museum Objects was incorporated with headquarters in London. As director of the Museum, Marceau became a fellow member of IIC by at least 1956, and both he and Theodor Siegel, the Museum's conservator, were invited to review journals for one of the institute's publications, IIC Abstracts.
In setting up the Museum's laboratory, Marceau recruited David Rosen to serve as technical adviser. Born in Russia, Rosen studied sculpture and painting in Paris before coming to the United States in 1913 to practice as an art restorer. In 1937 he participated in a meeting of art experts in Paris to discuss the detection of frauds in paintings with the use of scientific methods. Rosen's relationship with the Philadelphia Museum of Art began in 1936 with his conservation of works of art in the Wilstach Collection. He also worked on paintings in the Elkins and McFadden Collections as well as the John G. Johnson. By 1946, Rosen restored 234 paintings in the Johnson Collection and a combined total of 150 works from the other collections. Earning an international reputation as a pioneer in the scientific examination and preservation of art, Rosen also served as technical adviser at the Walters Art Gallery in Baltimore, the Worcester (Mass.) Art Museum and other institutions, as well as private collections such as the George Blumenthal Collection and the Morgan Library in New York. He collaborated with Stout at the Fogg Museum and was a charter fellow of IIC. Rosen had an art conservation and research laboratory in New York City, where he resided as well. At his death in 1960, Rosen was described as the "greatest expert in the field in the Western World." "[T]he daddy of all of them." Measured against today's principles and practices, Rosen's conservation techniques have been criticized for being too intrusive and sometimes incorrect, requiring some of his projects to be reversed.
In the spring of 1955, the Museum expanded its Department of Conservation and Restoration. In addition to increasing its workspace and equipment, the Museum also hired a conservator, Theodor Siegl. The following year an assistant joined the staff, and during the 1956-1957 season, a total of 253 paintings were treated. Again, compared to today's practices, such a heavy workload, apparently supervised by Rosen, would be considered overly ambitious. By 1964, the department consisted of Siegl, an assistant and two volunteers, and a total of 139 objects in all categories were treated. Siegl continued to head the department until his death in 1976.
- (Summer 1955). Bulletin and Annual Report 1954-1955 (Philadelphia Museum of Art)
- Philadelphia Museum of Art, Archives. Funding papers include yearly reporting of work of the conservation department. Conservation and Technical Research Collection. Subject series.
- Museum Curatorship in the National Park Service: 1904-1982.Washington, D.C.: Dept. of the Interior, National Park Service, Curatorial Services Division, 1993. Lewis, Ralph H. "Conservation of Cultural and Scientific Objects."
- Bulletin (Philadelphia Museum of Art) (Jan. 1940). Marceau, Henri. "Conservation and Technical Research."
- 18th Annual IIC Congress (Melbourne) Oct. 2000. Staniforth, Sarah. "Conservation: Significance, Relevance and Sustainability."
- 9 Mar. 1960. The Sun, Baltimore.
This collection documents the establishment and early operations of the Museum's conservation laboratory and the technology heralded at that time by curators and conservators for permitting a more scientific approach to connoisseurship as well as restoration programs. As such, the material primarily documents the activities of Henri Marceau, Curator of Painting and Sculpture, and of the John G. Johnson Collection, and David Rosen, who served as an adviser to the Museum's conservation and technical research projects. Consisting primarily of correspondence, photographs and other papers, the "Subject" series offers a general description of Marceau's efforts to set up the Museum's laboratory, and his collaboration with Rosen in using technology, including advanced photographic means, to determine the authenticity, condition and history of a work of art. Institutional minutes and conference handouts document efforts at the time to professionalize the practice of conservation and promote standards in education. Far more extensive and complete in documentation are the various photographic images comprising the "Works of art" series, which is primarily the work of David Rosen. Working out of his laboratories at the Museum and at the Walters Art Gallery, as well as in his New York City studio, Rosen examined more than 400 art objects, using a number of photographic techniques. The series thus consists of an extensive collection of film and glass plate negatives, the index cards that record the various photographic methods used, as well as prints and lantern slides, many of which were made from the negatives, in addition to other sources. While most of Rosen's images were taken for study purposes only, many also document any conservation work he performed, including surface cleaning, repair, and in the case of panel paintings, replacing back supports and wax impregnation to wood. In addition to paintings from the John G. Johnson Collection and other works owned by the Museum, objects owned by other institutions and individuals are also documented here. Most of these were works on loan to the Museum that Rosen examined and sometimes restored.
This material originally was stored with, and assumed to be part of, the John Graver Johnson Papers and Johnson Collection Curatorial Records.
These materials were arranged and described by Bertha Adams, Katherine Stefko, Adrianna Del Collo, and Courtney Smerz. Funded by a grant from The Andrew W. Mellon Foundation.
Organization
- Publisher
- Philadelphia Museum of Art Archives
- Finding Aid Author
- Finding aid prepared by Bertha Adams, Katherine Stefko, Adrianna Del Collo, and Courtney Smerz.
- Finding Aid Date
- ©2006
- Sponsor
- Funded by a grant from The Andrew W. Mellon Foundation
- Access Restrictions
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The collection is open for research, with the exception of film negatives and interpositives in freezer storage. Access to most of this material is at the discretion of the Archivist.
- Use Restrictions
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The Conservation and Technical Research Collection is the physical property of the Philadelphia Museum of Art, Archives. The Museum holds literary rights only for material created by Museum personnel or given to the Museum with such rights specifically assigned. For all other material, literary rights, including copyright, belong to the authors or their legal heirs and assigns. Researchers are responsible for obtaining permission from rights holders for publication and for other purposes where stated.
Collection Inventory
This assortment of papers and photographs touches on subjects that generally or specifically describe the establishment and earliest operations of the Museum's conservation laboratory, as well as some of the collaborative projects of Henri Marceau and David Rosen. The variety of documentation suggests that the material probably served as Marceau's working file on the nascent laboratory rather than the formal records of a department. Most of the material is filed under one of the two general topics: "reference" and "technical study photographs." The first, assigned during processing, groups together documentation of various equipment, supplies, conservation practices and materials, scientific methods and commercial laboratories. Folders are subtitled accordingly. Material consists primarily of brochures, vendor catalogs, and correspondence as well as a few reports and clippings. Either Marceau or Rosen assigned the term "technical studies" to the group of photographs that comprise the latter set of files referenced above. Most of the prints were probably the work of Rosen since they are mounted similarly to those in the second series. The photographs illustrate different stages in the conservation or examination of a painting as well as details, such as an artist's signature, one of the elements studied to determine authenticity. Backs of painted panels are also well documented. Photographs depict panel backs with and without cradles--an old conservation practice that contemporary restorers were assailing--as well as their alternative method of screwing in aluminum supports. The two folders entitled "Unidentified" also may be Rosen's photographic handiwork. The contact prints made from the original rolls of films document what appears to be early installations of the John G. Johnson Collection, the conservation laboratory and works of art undergoing restoration or examination. The other folder contains personal photographs of what appear to be vacation and other casual shots. One of the individuals in several of the images most likely is Rosen.
Other subjects include "Education," which consists of materials regarding various seminars, conferences or courses on the practice of conservation. The proposals for what would be the Conservation Center of New York University's Institute of Fine Arts as well as for the reorganization of the Department of Conservation at the Fogg Museum of Art are also included here since both programs offered training and research in addition to conservation services. This series also includes documentation of a few professional affiliations, filed by organizational name. Of note is the International Institute for the Conservation of Museum Objects, an international group in which Marceau and Rosen participated as fellows. The Museum's conservation program was financed through regular contributions from the funds for the Wilstach, Elkins and Johnson collections. The "Funding" folders consist primarily of Marceau's correspondence with the directors of those funds. Conservator's yearly reports are also included. The "Object" files refer to some of the works of art that Marceau and/or Rosen examined or conserved for the Museum or for other museums or private collectors. The Museum documentation consists of correspondence and brief summaries of the restoration work performed. None of the reports referred to in the correspondence exist in these files. Correspondence documenting restoration work to the John G. Johnson Collection remains in that collection's curatorial records, identified as "Conservation" files. During the 1930s, the conservation laboratory of Harvard University's Fogg Art Museum performed much of the early restoration to those objects. The evaluations of works owned by others are also documented primarily through correspondence, although a few reports are also included. "Writings" document some of the articles and lectures by Marceau and Rosen on the subjects of conservation and authenticity and the use of scientific methods. While there are typescripts for most of the writings, some are documented solely with the prints used as figure illustrations. Slides that appear to relate to any of the lectures or articles remain in the "Lantern slides" subseries of the "Works of art" series and are cross-referenced at the folder level. "Writings" also includes a report prepared by the Museum's conservator, Theodor Siegl. Whether it was published is uncertain.
Alphabetical.
Johnson Collection Curatorial Records / VI. Conservation
Conservation and Technical Research Collection / I. Subjects / f. Writings. Marceau, Henri. "Factual Examination of Works of Art." Lecture to the American Association of Museums (Philadelphia, PA). 20 May 1938. Ts.
Conservation and Technical Research Collection / I. Subjects / f. Writings. Rosen, David. "An Analysis of Daumier's Method." Lecture to the American Association of Museums (Philadelphia, PA). 20 May 1938. Ts and slide list.
Conservation and Technical Research Collection / I. Subjects / f. Writings of others. Wehle, Harry B. "The Value of Factual Evidence to the Museum Curator." Lecture to the American Association of Museums (Philadelphia, PA). 20 May 1938. Ts and correspondence.
Conservation and Technical Research Collection / I. Subjects / f. Writings of others. Gettens, Rutherford J. "Science in the Art Museum." Reprinted from Scientific American (July 1952).
Fiske Kimball Records / II. Officers and other overseers / A. Fairmount Park Commission / 2. Various topics / f. Paintings conservation and restoration of Elkins, McFadden and Wilstach art collections. Correspondence and lists of paintings.
Johnson Collection Curatorial Records / VI. Conservation / f. Rosen, David and the Walters Art Gallery (Baltimore, Md.).
Arensberg Archives / I. Correspondence / A. General correspondence / f. Adler, Mary Ann.
Fiske Kimball Records / I. General correspondence and related material / L. 1949-1950 / f. Abbott-Ajelli.
Conservation and Technical Research Collection / II. Works of art / D. Index cards / f. Aertsen, Peter to Zurbaran, Francisco, and unidentified artists.
Conservation and Technical Research Collection / II. Works of art / A. Prints / f. Rembrandt Harmensz. van Rijn. "Portrait of a Man." [494] (34 prints).
Conservation and Technical Research Collection / I. Subjects / f. Writings. Siegl, Theodor. "Report on the Action of Gum Elemi in Wax-Resin Adhesives." [Unpublished?]. Ts w/ sketches and photographs.
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [274] [Conservation] Shop. 1940. (9 film).
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [490] Technical [studies]. (2 film).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Spanish. 14th century,unidentified. [Same as previous?]. Panel back. [Before and after restoration?] (2 slides).
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [490] Technical [studies]. (2 film).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Chinese bowl. [465] (1 slide).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Hispano-Flemish artist. Panel back [unidentified] before restoration. (1 slide).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Hispano-Flemish artist. Panel back (St. Peter) after restoration. (1 slide).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Technical studies. Incl. varnish specimen. [403 filed as "Cradles"] (8 slides).
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [490] Technical [studies]. (2 film).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. [Sculpture]. Wood. Angel. [490 filed as "Technical"] (1 slide).
Conservation and Technical Research Collection / I. Subjects / f. Writings. Marceau, Henri for David Rosen. "The Preservation of Wood Sculpture--The Wax-Immersion Method." Slide presentation (unidentified location). Ts.
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [490] Technical [studies]. (2 film).
Conservation and Technical Research Collection / I. Subjects / f. Technical study photographs. Conservation laboratory and conservators at work.
Conservation and Technical Research Collection / I. Subjects / f. American Association of Museums. Program and list of delegates to the 33rd annual meeting.
Conservation and Technical Research Collection / II. Works of art / A. Prints / f. Daumier, Honoré, [imitator of?]. "Third Class Carriage." [42; X-12] (13 prints).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Giovanni di Paolo. "Christ Carrying the Cross." (1 slide)
Conservation and Technical Research Collection / II. Works of art / A. Prints / f. Brussels, early 16th century. Tapestry. Detail of man's head. (1 print).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Daumier, Honoré, imitator of. "Third Class Carriage." (5 slides).
Conservation and Technical Research Collection / II. Works of art / A. Prints / f. Earl, Ralph. "Commodore Silas Talbot." [120] (13 prints). 2:3.
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Corot, Jean-Baptiste-Camille. "Woman with Water Jar" cf. w/ "Gypsy Girl at Fountain." [100, X6] (6 slides).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Technical studies. Incl. varnish specimen. [403 filed as "Cradles"] (8 slides).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Spanish. 14th century, unidentified. ["Coronation of the Virgin."] (4 slides).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. [Sculpture]. Wood. Angel. [490 filed as "Technical"] (1 slide).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Altarpiece. George Grey Barnard Collection. (6 slides).
Conservation and Technical Research Collection / I. Subjects / f. Technical study photographs. Sculpture. 1:2.
Conservation and Technical Research Collection / I. Subjects / f. American Association of Museums. Program and list of delegates to the 33rd annual meeting.
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Weyden, Rogier van der. "Virgin and St. John." (1 slide).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Weyden, Rogier van der. "Crucifixion." [241]. (1 slide).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Matteo di Giovanni. "Story of Camilla." [135] (1 slide).
Conservation and Technical Research Collection / II. Works of art / A. Prints / f. Marmion, Simon. "Saint Jerome." [162] (23 prints).
Conservation and Technical Research Collection / I. Subjects / f. Reference. Wax lining adhesives. Correspondence.
Conservation and Technical Research Collection / I. Subjects / f. Education. Fogg Museum of Art. Proposed reorganization of Dept. of Conservation. Proposal and bulletin.
Conservation and Technical Research Collection / I. Subjects / f. American Association of Museums. Program and list of delegates to the 33rd annual meeting.
Primarily the work of David Rosen, this series illustrates the technical methods and documentation that he along with Henri Marceau embraced for conservation and technical study purposes. Rosen made an extensive visual record of art objects using panchromatic film, as well as raking light, infrared, ultraviolet and X-ray photography. The resulting documentation consists of numerous prints, lantern slides, and negatives, which, along with a set of index cards, make up this series' four subseries. For each painting examined, Rosen noted on an index card the types of photography employed, the section of the painting documented, and when appropriate, the stage of restoration or cleaning it was in when photographed. Because most cards do not include notations about cleaning or restoration work, it appears that Rosen photographed the paintings primarily to record their then current condition and to support his own and Marceau's connoisseurship studies.
While some of the paintings documented are associated with the Philadelphia Museum of Art, particularly the John G. Johnson Collection of European paintings, many came from other institutions, dealers or private collectors as loans to the Museum for special exhibitions. Such is the case for the extensive set of images of paintings by Daumier and Corot, both of which were the subject of major exhibitions in 1936 and 1946, respectively. Both artists also served as ideal candidates in the use of technical research since Marceau and Rosen often examined their works in their various articles and lectures. Rosen's index cards offer other explanations as to why objects not belonging to the Museum are part of these records. According to certain notations, at least one object temporarily came to the Museum to be assessed by Marceau, and another was photographed for Rosen's private work. It is also possible that some of the objects photographed were those offered to the Museum for purchase. According to Marceau, these technical examinations were useful to the curator when considering a purchase of a work of art and determining authenticity and condition.
By type of material.
Johnson Collection Curatorial Records / VI. Conservation
Most of these photographs undoubtedly were printed from the negatives made by David Rosen. His New York logo is embossed on many of the prints. Unfortunately, unlike the negatives, which are all numbered so to correspond with the index cards, these prints are not identified as such. Therefore, the photographic technique employed is not always clear. Occasionally, however, an "I-R" is written on the backs of some of the mounted prints, probably indicating that the image was made with infrared photography. The prints offer a visual survey primarily of European art of the 15th to 19th century. For most of the artists, several of their works are documented, often with multiple images of each painting. Images depict various surface and substructure details, from an artist's signature to evidence of underpainting or canvas repair. Many panel paintings are examined and include images of cradles, a support once used to counter warping and shrinkage. Additional photographs supplied by other sources are also included.
Almost 38 prints, previously filed by various artists and titles, were transferred to the "Subjects" series as a "Writings" folder. With captions attached to the verso of each, these prints served as most of the figure illustrations to an article by Marceau, reprinted in the December 1953 Proceedings of the American Philosophical Society. Prints of other works of art remaining in this subseries also have captions or some type of didactic text attached. The intended use of these prints, however, could not be determined.
Works of art are identified according to the original attributions and titles, regardless of current designations. Files are arranged alphabetically by artist or object, and within each subgroup, alphabetically by title or other description. "Unidentifed" and "Various" works are filed last. File titles for prints that appear to have been made from Rosen's set of negatives, which comprise the third subseries, include a bracketed number that refers to his numerical coding of same. The number of prints per folder is given in parenthesis.
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Aertsen, Pieter. "The Cook." [278] (4 slides).
Conservation and Technical Research Collection / I. Subjects / f. Writings. Marceau, Henri. "Photographic Aids and Their Uses in Problems of Authenticity..." Paper read 13 Nov. 1952. Rptd. in Proceedings of the American Philosophical Society 6 (Dec. 1953). Figure illustrations 1-14.
Conservation and Technical Research Collection / I. Subjects / f. Writings. Marceau, Henri. "Photographic Aids and Their Uses in Problems of Authenticity..." Paper read 13 Nov. 1952. Rptd. in Proceedings of the American Philosophical Society 6 (Dec. 1953). Figure illustrations 1-14.
Conservation and Technical Research Collection / I. Subjects / f. Writings. Marceau, Henri. "A Recently Discovered portrait by Ralph Earl." Reprinted from Gazette des Beaux-Arts 23 (Apr. 1943): 251-55. inc. research notes.
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [402] Coecke van Aelst, Pieter. "Altar of the Passion." Paintings. (4 film).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Altarpiece. George Grey Barnard Collection. (6 slides).
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. Marmion, Simon. "St. Jerome and Donor." [162] (11 slides).
Conservation and Technical Research Collection / I. Subjects / f. Writings. Rosen, David. "Preservation versus Restoration." Magazine of Art 34 (Nov. 1941): 458-71. Figure illustrations (12) w/ captions.
Conservation and Technical Research Collection / I. Subjects / f. Objects of others examined. Unidentified drawings. Correspondence, photographs and negatives.
Conservation and Technical Research Collection / II. Works of art / B. Lantern slides / f. [Sculpture]. Wood. Angel. [490 filed as "Technical"] (1 slide).
As made evident by the notations on the lecture typescripts, filed as "Writings" in the previous series, Marceau and Rosen illustrated their talks on technical research and conservation with lantern slides. As the slides in this subseries make evident, they often borrowed directly from their published articles for their lectures. Many slides represent the same figures illustrations that accompanied several of Marceau's and Rosen's articles. The slides, however, are renumbered, no doubt to reflect a lecture sequence. For most of the lantern slides, however, no corresponding lecture typescript exists in these records.
Many of the slides consist of multiple images to allow for comparative analysis. These comparisons include an examination of the same detail of a work of art under different photographic techniques; different works by the same artist; a work of art before and after restoration; and occasionally a comparison of a confirmed attribution versus a questionable one. Many of the slides pertain to the paintings of Daumier and Corot. Several depict a conservation laboratory and equipment. While some of the slides filed as "Technical Study" duplicate images in the "Prints" subseries, there are additional study images, including what appears to be a specimen of varnish. Rosen probably took most, if not all, of these slides since many of the images correspond with his set of negatives described in the following subseries.
Works of art are identified according to the original attributions and titles, regardless of current designations. Files are arranged alphabetically by artist or object, and within each subgroup, alphabetically by title or other description. "Unidentifed" and "Various" works are filed last. File titles for slides that appear to have been made from Rosen's set of negatives, which comprise the third subseries, include a bracketed number that refers to his numerical coding of same. The number of slides per folder is given in parenthesis.
Conservation and Technical Research Collection / II. Works of art / A. Prints / f. Aertsen, Pieter. "The Cook." (13 prints). 1:2.
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [402] Coecke van Aelst, Pieter. "Altar of the Passion." Paintings. (4 film).
Conservation and Technical Research Collection / I. Subjects / f. Writings. Marceau, Henri for David Rosen. "The Preservation of Wood Sculpture--The Wax-Immersion Method." Slide presentation (unidentified location). Ts.
Conservation and Technical Research Collection / II. Works of art / A. Prints / f. Flemish, unidentified. Altarpiece w/ scenes of the Passion. Panels opened and closed, before and after restoration. (4 prints).
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [465] Chinese bowl. (4 film).
Conservation and Technical Research Collection / I. Subjects / f. Technical study photographs. Decorative arts.
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Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [274] [Conservation] Shop. 1940. (9 film).
Conservation and Technical Research Collection / I. Subjects / f. Writings. Marceau, Henri and David Rosen. "A study in the use of photography in the identificaiton of paintings." Technical Studies 6 (1937): 75-105. Other papers.
Conservation and Technical Research Collection / I. Subjects / f. Writings. Marceau, Henri. "Photographic Aids and Their Uses in Problems of Authenticity..." Paper read 13 Nov. 1952. Rptd. in Proceedings of the American Philosophical Society 6 (Dec. 1953). Figure illustrations 15-26.
Conservation and Technical Research Collection / I. Subjects / f. Writings. Marceau, Henri. "Photographic Aids and Their Uses in Problems of Authenticity..." Paper read 13 Nov. 1952. Rptd. in Proceedings of the American Philosophical Society 6 (Dec. 1953). Figure illustrations 1-14.
Conservation and Technical Research Collection / I. Subjects / f. Technical study photographs. Panel backs w/ aluminum supports[?]. 1:2.
Conservation and Technical Research Collection / I. Subjects / f. Technical study photographs. Panel backs[?].
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [374] Majolica Bowl. (8 glass).
Conservation and Technical Research Collection / II. Works of art / A. Prints / f. Marmion, Simon. "Saint Jerome." [162] (23 prints).
Conservation and Technical Research Collection / I. Subjects / f. Writings. Rosen, David. "Preservation versus Restoration." Magazine of Art 34 (Nov. 1941): 458-71. Figure illustrations (12) w/ captions.
Conservation and Technical Research Collection / II. Works of art / A. Prints / f. Wood sculpture. (2 prints).
Conservation and Technical Research Collection / I. Subjects / f. Technical study photographs. Sculpture. 1:2.
Conservation and Technical Research Collection / I. Subjects / f. Writings. Marceau, Henri for David Rosen. "The Preservation of Wood Sculpture--The Wax-Immersion Method." Slide presentation (unidentified location). Ts.
Conservation and Technical Research Collection / I. Subjects / f. Writings. Marceau, Henri for David Rosen. "The Preservation of Wood Sculpture--The Wax-Immersion Method." Slide presentation (unidentified location). Ts.
Conservation and Technical Research Collection / I. Subjects / f. Technical study photographs. Damaged materials.
Conservation and Technical Research Collection / I. Subjects / f. Technical study photographs. Panel backs w/ cradles and other wooden supports.
Conservation and Technical Research Collection / I. Subjects / f. Writings. Marceau, Henri for David Rosen. "The Preservation of Wood Sculpture--The Wax-Immersion Method." Slide presentation (unidentified location). Ts.
Conservation and Technical Research Collection / I. Subjects / f. Writings. Rosen, David. "Preservation versus Restoration." Magazine of Art 34 (Nov. 1941): 458-71. Figure illustrations (12) w/ captions.
Conservation and Technical Research Collection / I. Subjects / f. Writings. Rosen, David. "Preservation versus Restoration." Magazine of Art 34 (Nov. 1941): 458-71. Figure illustrations (12) w/ captions.
Film and glass plate negatives make up this series, and with the corresponding index cards, offer the most complete record of Rosen's photographic studies and restoration work. Rosen apparently numbered the negatives in the order in which he photographed the paintings, making his studies of Daumier his first project. With a number assigned to each painting, the various photographic techniques used on each work of art were coded as alphabetical extensions to each number. Every negative is marked with its numerical/alphabetical code, and the complete description of codes and photographic techniques is recorded on the corresponding index card.
In making infrared studies, Rosen originally used glass plate negatives, in 5x7 and 8x10 formats. He later switched to film negatives. For all other photography, including raking (cross) light and X-ray, Rosen primarily used film negatives, most of which are 5x7. A few of the 8x10 glass plate negatives are identified as "process X-rays," as opposed to the film versions he identified as "ortho X-rays." The third set of negatives are larger X-rays, measuring 13"x16" approximately, and all images are of objects held at this Museum. Rosen apparently took these X-rays at his laboratory at the Walters Art Gallery, which forwarded the negatives to the Museum after Rosen's death. Most of these negatives therefore have two numerical codes. The original Walters numbering is the four-digit one. The Museum's number carries an "XR" prefix. Some of the X-rays are identified by the Walters number only. All film negatives are diacetate, and currently approximately half are in a state of deterioration that prohibits access and any print development.
While most of the photographic subjects are individual works of art, a few negatives depict certain galleries housing the Johnson Collection as well as the wax tank in the Johnson conservation shop and other laboratory set-ups identified as "Shop" photographs. There are also several sets of X-rays of mummies. There appear to be corresponding prints in the first subseries to approximately half of all negatives. In addition to the negatives specifically made in slide format, many other film negatives also appear to have corresponding lantern slides, which comprise another subseries. Folder titles for those prints and slides include Rosen's numerical coding.
In addition to Rosen's original negatives, there are same-size and reduced duplicates for approximately 200 images. These were made in 2004 for conservation purposes.
In the three original numbering schemes, which also represent the three sizes of negatives Rosen made. Each set is in numercial order. Same-size film and glass negatives are entered separately, but consecutively to maintain numerical order. The first set consists of 5x7 negatives numbered 1 to 495. Numbers 398 and 400 were assigned twice to different images, and there are several gaps in the numbering sequence. The 8x10 negatives, indicated with an "X" prefix, follow. The last set, consisting of full-size X-rays, are arranged with "XR" prefixed numbers preceding the four-digit numbered set. Folder titles include corresponding artist, title of work, and in parenthesis, the number of negatives per folder.
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [X-21] Daumier, Honoré, 1808-1879. "The Laundress." (2 film).
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [X-21] Daumier, Honoré, 1808-1879. "The Laundress." (2 film).
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [98] Corot, Jean-Baptiste-Cmaille. "Chateau Thierry" [misidentified]. (2 film).
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [53] Corot, Jean-Baptiste-Camille. "Habitation" (or "House in the Village of St. Martin") [misidentified]. (1 film).
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [X-7] Corot, Jean-Baptiste-Camille. "Landscape." (1 film).
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [X-8] Corot, Jean-Baptiste-Camille. "Landscape." (1 film).
Conservation and Technical Research Collection / II. Works of art / C. Negatives / f. [352] Rembrandt Harmensz. van Rijn. "The Crucifixion." (2 film).