Making some noise

We have been notably quiet on this blog lately, but that doesn’t mean that we haven’t been making a lot of noise elsewhere!

Project Conservator Anna O'Neill Alexander uses a PaleoTool to remove old restoration plaster that surrounds an ancient Egyptian limestone fragment. 
The limestone fragment is part of a column from the palace complex of Merenptah, 
which dates to 1224-1204 BCE.
Project Conservator Anna O’Neill Alexander uses a PaleoTool to remove old restoration plaster that surrounds an ancient Egyptian limestone fragment.
The limestone fragment is part of a column from the palace complex of Merenptah,
which dates to 1224-1204 BCE. See the (noisy) video footage of her at work here.

We also have some BIG imminent deadlines, which have kept us very busy, and some of our monumental projects are so BIG that they can’t even be worked on within the Museum building. More on that soon.

All of that aside, we continue to work on projects in the Artifact Lab, that are not as big, necessarily, but are just as important. Most of the artifacts we are working on are to prepare for the future installation of our new Ancient Egypt and Nubia Galleries.

Project Conservator Teresa Jimenez-Millas is currently working on the coffin 
and mummy of Petiese in the Artifact Lab. Here she is using an adhesive 
solution to stabilize the painted surface of Petiese's coffin lid.
Project Conservator Teresa Jimenez-Millas is currently working on the coffin
and mummy of Petiese in the Artifact Lab. Here she is using an adhesive
solution to stabilize the painted surface of Petiese’s coffin lid.
Petiese was an Egyptian priest who lived during the Late Period (664 – 332 BCE).

To hear more about all these projects in REAL TIME, check out our 1-hour #AskAConservator Q&A session next Monday, November 4th, on the Penn Museum’s twitter account, or visit us when the Museum is open, where EVERY day is Ask a Conservator Day!

An Answer to the tough question: What is your favorite thing?

By Tessa de Alarcon

A question we often get asked in the Artifact Lab is, “what is your favorite thing that you have worked on?” Usually I find this question hard to answer because we work on so many different and fascinating objects, but at the moment, it’s a no-brainer. The trumpets from the Democratic Republic of Congo that are slated to go into the new Africa Galleries are by far some of the coolest objects I have ever worked on. As an example, here is AF5211:

After treatment photo of AF5211

This trumpet is carved from elephant ivory (identifiable by the clearly visible Schreger lines).

Detail of AF5211 showing Schreger lines: a feature used to identify elephant ivory

There is some type of reptile skin wrapped around one end and stitched together on the side, and animal fur that literally makes this object look like a rock star.

detail of AF5211 showing the reptile skin and fur

All these details make this object beautiful, but what makes it special is what is hiding beneath the skin. In a few spots where the reptile skin has shifted you can glimpse repairs.

Detail of AF5211 showing plant fiber repairs

The repairs are even more visible from the interior of the object. It seems that at some point, probably when this object was in use, the ivory split. It was then repaired by drilling holes into the ivory and stitching it together. There is also some type of resinous mixture that was put into the join.

Overall view of the interior of AF5211 showing repairs

Detail of the interior of AF5211 showing the repairs

The reptile skin may have been added to both hide the repair and support it so that the object could continue to be used. It is these glimpses of the life of the object that make it so special. It tells not just the story of its craftsmanship but also the people who used it and cared for it.

To see this object in person, visit the new Africa Galleries when they open in November of this year!

Transformation Tidbits on a Tuesday

By: Anna O’Neill, Jonathan Stevens, and Céline Wachsmuth

It’s Tuesday! And time for another transformation post. As the Kaipure team is wrapping up our work, we have been reflecting upon how different everything has become from when we first started the project in June 2017, almost a year ago. We have seen many transformations, both big and small. Here are some snapshots of transformations we’ve seen throughout the project:

First thing’s first, we have our simple, but satisfying, surface cleaning transformation. Jonathan shares one of his blocks in the middle of cleaning:

Photo by Jonathan Stevens Cleaning in progress. Most of the background of this limestone block has been dry-cleaned using white rubber erasers, vulcanized latex sponges and cosmetic sponges. The brighter areas are clean and any area that looks gray has not been cleaned yet.

Cleaning is fun, especially when the results are so nice and neat!

Anna had the chance to rejoin two block fragments, something that we haven’t been able to do much of because of the size and weight of most of the blocks, even though some are broken and we know how they fit together.

Photos by Anna O’Neill For this piece, both the main block and missing fragment were cleaned and the break edges consolidated with 2% w/v Paraloid B-72. Then the fragment was adhered with 40% w/v Paraloid B-72 and held in place with straps overnight until the join had set. The cracks were filled with a white Paraloid B-72/glass microballoon mixture, which provides support to areas of loss and helps to protect the fragile edges along the break. The fill was then painted with Golden acrylic paints to integrate it with the rest of the piece.

One of the last blocks Céline had the chance to work on also had one of the most fragile surfaces of any of the blocks. It was a lengthy, but incredible treatment. Both images below show the process of stabilizing the block’s surface. After cleaning, loose and lifting fragments were secured by injecting a 30% solution of Paraloid B-72 in acetone beneath the flakes. The unprotected edges of the flakes were supported and protected with a mixture of Paraloid B-72 and glass microballoons, applied by injection with a syringe, and then in-painted with acrylics to match the surface.

Photos by Céline Wachsmuth Detail of before, during, and post treatment of a section of the block. There was significant lifting and destabilization over much of the block’s surface.

Photos by Céline Wachsmuth Detail of before, during, and post treatment of a section of the block. This section was floating on the surface, meaning it was no longer attached.

Stay tuned for a final post about the finishing touches on the Kaipure Tomb Chapel project.

The Kaipure Conservation Project is funded through a generous grant from the American Research Center in Egypt (ARCE) Antiquities Endowment Fund (AEF) which was established though a grant from the United States Agency for International Development (USAID).

BIG changes, little details

On November 1, our Museum announced the commencement of our  Building Transformation  campaign, a monumental project which will include a full renovation of our building structure and reinstallation of many of our signature galleries, including our iconic Egyptian Galleries.

The first glimpse of this work will be the opening of our Middle East Galleries in April 2018. This is not news for readers of this blog – you have been hearing about the conservation work for this project for awhile now (for reference, see these related blogposts).

Graduate intern Marci Jefcoat Burton (standing) and pre-program interns Fallon Murphy, Jennifer Mikes, and Alyssa Rina during an open window session in the Artifact Lab (with one of the al-Ubaid mosaic columns in the foreground)

In fact, you can get a glimpse of several exciting projects that are underway for our Building Transformation right now, on a daily basis, in either of our 2 public conservation labs.

In the Artifact Lab, you will mostly see objects being conserved for the Middle East Galleries and for our Mexico and Central America Gallery, opening in November 2018.

An assortment of artifacts for the Mexico and Central America Gallery in various stages of conservation treatment.

Our other public lab is down in our Lower Egyptian Gallery. Work in that space is dedicated exclusively to conservation treatment of the carved and painted limestone blocks from the Old Kingdom tomb chapel of Kaipure.

A view of the Kaipure tomb chapel lab space in Lower Egypt

Project Assistant Anna O’Neill at work on a block in the Kaipure lab

While you can watch the conservation team at work most days in the Kaipure lab, unlike the Artifact Lab, it does not include open window sessions. But have no fear – the Kaipure team has promised to write some blogposts about aspects of their work, so stay tuned for more information on this project!

Big projects like the Building Transformation campaign come down to a lot of little details, and no one knows details like the Conservation Department. We hope you visit us to learn more about these details, and all the work underway to make these big changes possible.

Sometimes you just can’t get close enough (intern Celine Wachsmuth in the Kaipure lab)

To learn more about the vision of our Building Transformation, check out this ~3 minute video which captures the grandeur of the project (and features Project Conservator Tessa de Alarcon!).