National Museums Liverpool Blog - national conservation centre

Today two halves of a medieval ivory diptych will be reunited thanks to a special collaboration between the Walker Art Gallery and National Museums Wales.

The diptych, which was made in the 14th century, portrays the birth of Christ, with the Virgin and Child flanked by Saints Peter and Paul, on the left-hand panel, while the right-hand side shows Christ on the cross flanked by Mary and John. Originally the leaves would have been joined together - you can see the holes for the hinges in the image above. However, over time they were separated and now the left hand panel is in the collections of the Walker Art Gallery, while the right hand one belongs to National Museums Wales.

The Walker's panel has been lent to National Museum Cardiff for a year-long display with the other half of the diptych, which starts today as part of National Archaeology Week.

When the original is returned to Liverpool visitors to Cardiff will still be able to see what the complete diptych would have looked thanks to a highly accurate copy of the left panel made by the Conservation Technologies team at the National Conservation Centre. Laser technology research scientist Annemarie La Pensee told me all about it:

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"Last year Conservation Technologies was commissioned by Amgueddfa Cymru - National Museum Wales - to make a replica of the left-hand leaf of the diptych that we have here at National Museums Liverpool. Using 3D laser scanning and CNC machining we made an accurate replica from polyurethane resin that was patinated to make it look like the original.

Here in the laser technology team, we found the project really great to work on. The leaves are quite small, only 10cm in height. However, because of the highly carved surface we used our most accurate scanner to record the sub-millimetre details and the resulting dataset was as big as those we create for much larger objects. It is also interesting to see how different the two original leaves are in colour and texture because they have been apart and have been exposed to different environments."

Here's a quick update on the project to recreate missing bronzes for two of the Sefton Park monuments.

The clay models that Conservation Technologies are making for the reconstruction of the three missing relief panels from the Sefton Park memorials are now really taking shape. They will be used to produce the foundry cast bronze panels that form part of the memorials to William Rathbone and the Right Honourable Samuel Smith. Two of the panels have reached the stage where the fine detail is being sculpted and the third panel has been blocked out. Blocking out is the term the sculptors use to say that the main body of the clay shape is in place, before being fashioned into a more accurate form.

The sculptors are off at the moment so the clay panels have been wrapped in damp flannelette sheeting and are being sprayed everyday to keep them moist until work starts again. It's best not to disturb them while they are wrapped up like this so we don't have any updated photos to show at the moment.

Here's a reminder of what one of the clay plaques looked like a couple of weeks ago. You can see the rough shape of one of the figures sketched into the clay on the right, while other figures are starting to be 'fleshed out' in three dimensions. Further pictures of the early stages of the process are on our Sefton Park monuments Flickr slideshow and we will be adding more when they are available, so do check back in a couple of weeks to see the progress.

A couple of weeks ago I mentioned that the sculpture conservation team are recreating missing bronze relief plaques from two of Sefton Park's monuments completely from scratch using traditional techniques. As you can see from this photo, they are making good progress with some of the sculpted figures starting to take shape in the clay. Further photos are on our Sefton Park monuments Flickr slideshow and more will be aded as the project progresses, so do keep an eye on it. Kathy Wedge from Conservation Technologies has this update:

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"The project to produce the clay master models that will be used to cast the bronze relief panels that will reconstruct the memorials to William Rathbone and the right honourable Samuel Smith is now well under way. As seen in the first pictures in the Flickr slideshow the wood supports were fixed into place to support the clay and create a rough shape. The clay has been applied and then the design was sketched out in the clay before building out the 3D contours. More wood and metal armatures have been added to support parts of the relief which are almost free standing, such as some of the arms, legs and the occasional head.

Whilst Christopher Dean and Samantha Sportun are sculpting some of the sculptures, elements which have more air around them are drying out faster than the other sections of the panels which can be quite critical to the working of the clay. For this reason both sculptors need to keep a careful watch over the condition of the clay in all areas whilst also concentrating on the area that they are working on. If it appears to be drying out too fast it is sprayed with water and when the work has to stop at night they are covered with a polythene sheet and a wet flannelette blanket.

Once Christopher and Sam are satisfied with the general shape of an area of the sculpture it can then be allowed to dry to leather-like consistency which will allow them to then develop and work on the fine detail of the relief.

So far so good, and for once we are grateful that the weather has not been too warm, but watch this space as the panels develop."

Here's a sight you don't see every day when you're waiting to cross the road! The Edward VII monument returned to Pier Head today after being conserved at the National Conservation Centre's sculpture studio.

The tall sculpture had to be carefully manoeuvred out of the building then lifted onto the back of a lorry with specialist cranes and equipment, watched by staff, the press and a growing crowd of passers-by. The operation went smoothly, despite a bit of rain. You can see photos of the move on our Edward VII monument Flickr slideshow.

The sculpture conservation studio has recently had to squeeze in one of the largest sculptures that has ever been cleaned in-house. The equestrian monument to King Edward VII was removed from its plinth at Pier Head for conservation last year and brought to the studio, where it only just cleared the ceiling.

Now fully conserved, the monument will be returned to Pier Head this week. Here's a sneaky peek of how it now looks. You can see more photos, including some of the statue from last year before it was conserved, in our Flickr slideshow of the conservation of King Edward VII. From these pictures you can see that our sculpture conservators have been very busy - compared to its blackened, dirty state last year the monument now looks as good as new.

Every day thousands of cars travel through the Queensway tunnel under the Mersey. However, it is being reclaimed by pedestrians on Sunday when the traffic will be stopped to allow a special walk through the tunnel. 

This picture from the Metropolis exhibition of Stewart Bale photographs captures a rare moment of calm and solitude in the Queensway tunnel when it was still under construction back in 1931. I expect it'll be considerably busier on Sunday with 5,000 people expected to do the walk and the Liverpool Philharmonic Youth Orchestra playing in the middle.

Conservation Technologies are probably best known for the cutting edge work they do using laser technology to clean and replicate sculpture and other precious objects. However for their latest major commission they will mainly be using traditional techniques to hand sculpt missing elements of Sefton Park's monuments.

The memorials to William Rathbone and the Right Honourable Samuel Smith in Sefton Park both originally had four bronze relief sculptures on their bases. Over time the some of the bronze reliefs have been damaged and three of them have gone missing. The only record of the missing bronzes is a small black and white photo of each, so Conservation Technologies will be recreating them from scratch using these pictures as a guide.

The first stage of this process involves sculpting master models of the replicas in clay. As they are quite large pieces the process involved is quite a feat of engineering. The amount of clay used to provide the master models weighs a ton (literally) in weight, so special frames have been built to support that amount of wet clay and then enclose the finished pieces in order to transport them safely to the foundry for casting. The frames are shown below; the first is empty, the second has wooden supports in place to support the clay and the third has a layer of clay in place already.

As this is such a large and ambitious project two members of the team will be working to recreate the missing reliefs. Christopher Dean will be sculpting the two larger pieces, while Sam Sportun works on the third smaller bronze.

You can see further photographs in our Sefton Park monuments Flickr slideshow, which we'll be adding to over the next few weeks. At the moment there are also photographs of the damaged bronze relief of 'Charity' from the base of the memorial to William Rathbone, showing where the arm of a woman kneeling at the front has been broken off. This will be replaced as part of the conservation process.

We'll be bringing you updates as this ambitious project progresses, so watch this space.

There's just a few days left to submit your application for one of the 10 Creative Apprenticeships on offer. A number of Merseyside-based cultural organisations, including National Museums Liverpool, are involved in a project to foster emerging talent and give young hopefuls a solid grounding in the arts and culture industry.

By the end of the year-long apprenticeship you'll have earned a Level 2 Certificate in Creative and Cultural Practice, and a Level 2 National Award in Community Arts Management, but perhaps more importantly you'll have developed the skills and contacts you'll need for a career in the industry.

More details are available on the Creative Partnerships Liverpool website.

Claire Olson summarises National Volunteers Week, and thanks all the willing souls who help out here.

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Last week the Volunteers Team were out and about at different venues and events in the North West promoting volunteering opportunities at NML.

During the week we met with lots of people who are keen ‘volunteers in the making’ and eager to find out more. We also received lots of positive feedback about our museums, with many families telling us how much they enjoyed visiting! We also welcomed the launch of Mersey v’s; our new Young Persons' Steering Group, who will be championing volunteering across NML.

National Volunteers Week may only come once a year, but we would like to take this opportunity to thank our volunteers for all their support and hard work throughout the whole year – their positive involvement is much appreciated – as acknowledged by our director, Dr David Fleming:

“I have nothing but praise for volunteers, who devote their own time to helping make museums more popular and accessible. Volunteer effort is often overlooked, but without volunteers most museums would provide an immeasurably poorer public service.”

If you wish to find out more about becoming a volunteer at NML please contact the Volunteer Team on 0151 478 4775 or volunteerenquiries@liverpoolmuseums.org.uk and keep an eye on the blog for more volunteer updates coming soon!

In today's volunteer's tale, Margaret describes the various volunteer opportunities she has enjoyed during her 3 years with NML.

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Day 4: Margaret

I became a volunteer with NML nearly three years ago, when I started my degree course in History of Art and Museum Studies at Liverpool John Moores University, and I love it! To begin with I worked in the staff library, tidying and sorting books and journals, cataloguing and generally looking after the library. After a while I also started helping the Manager of the National Conservation Centre in the office – admin duties such as answering emails and phone queries, using a database to log work, ordering stationery, filing and so on. Every week there is something new and interesting to deal with, from assisting with the delivery of exotic items to be quarantined in the Conservation Centre freezers, to helping design a poster to advertise a series of Sunday dances in the Conservation Centre café.

I found that the volunteering experience was very relevant and beneficial to my degree course and it enhanced an internship module which was part of my second year.  I’m now also helping the art handling team with the John Moores 25 Exhibition which is really exciting. Apart from the pleasure of seeing the competition entries close up I am learning how to handle and transport paintings, which again will give me invaluable practical experience.

Volunteering at NML is a great way to find out more about how galleries and museums really work and what goes on behind the scenes. 

If you want to find out more about volunteering at National Museums Liverpool, please contact the Volunteers Team: volunteerenquiries@liverpoolmuseums.org.uk or 0151 478 4775

The eagle eyed amongst you may have noticed that there wasn't a May Name That Object competition. We were rather busy with the redesign for the main site (check it out if you've not already) and it kind of took a back seat.

Anyway, June's is now up with the first clue available here. As ever you need to figure out which object from our collections (and our website) the detail is from and email us the answer using the contact link on the competition page. There's a new clue every day this week.

We've had lots of enquiries from people wanting to buy the Art In The Age of Steam exhibition catalogue so that's this month's prize. Good luck.

Anne Gleave, our curator of photographic archives, has had an interesting phonecall from a sharp-eyed lady, who discovered a mysterious presence in the Stewart Bale photograph of the Anglican Cathedral under construction from the current Metropolis exhibition.

In the middle of the photograph there is a figure walking along the street, but only their legs are visible. Anne says this is probably the result of somebody walking past during a long exposure photograph.

Update 23/06/2008: After further examination of the image Anne has this update: "It could be that the figure was standing approximately in one place with the top half moving more than the lower half and a slightly long exposure only captured the lower half as the legs were more still. It is also possible that a dye may have been used on the negative to obscure a figure that was not wanted in the photograph; however, examination of the negative does not show any obvious signs of dye use. The detail of the image on the website does indicate a certain change of tone, as if a dye may have been used to remove the top half of the figure but then the question is if a dye was used, why wasn't it used to remove the feet; it does seem to be a bit of a mystery."

However there could be a more eerie explanation - after all, the mysterious figure is walking past the graveyard...

See what you think in this picture.

Our trading arm, NML Trading, is holding a Recruitment Open Day on Saturday 10th May. They're looking to recruit Team Leaders, Catering Assistants, Venue Supervisors, Chefs and Banqueting staff. They're looking for people who are passionate about catering for their daytime operation plus occasional evening work. You'll be working in Liverpool’s world class museums, providing high quality food and refreshments to over two million visitors each year.

To find out more about the roles on offer, bring your CV to World Museum Liverpool, William Brown Street, Liverpool between 10.30am and 4.30pm.

Some objects in our collection are so large that conserving them is a two-person job. A good example is the 'All you need is love' bedspread, which is currently being prepared for display is the upcoming exhibition The beat goes on - opening on 12 July 2008 at World Museum Liverpool.

To prepare it for display the bedspread has been stitched to a backing sheet on wooden stretchers, which support it and keep it in place. Today textiles and organics conservators Vivien Chapman and Anne-Marie Hughes have been strengthening the bedspread with supporting stitches to key areas - a delicate process which involves passing the needle through the fabric from one person to the other, without being ever able to see each other. These stitches are so small that you wouldn't know they were there when you look at the bedspread but they play an important role in supporting it when it's on display.

The bedspread was originally used in John Lennon and Yoko Ono's Montreal 'Bed-In For Peace' in room 1742 of the Queen Elizabeth Hotel, Montreal in 1969. It is just one of the fascinating pieces of memorabilia that will be on display in the exhibition.

There are more pictures in a Flickr slideshow of the bedspread being conserved.

Today is day one in April's Name That Object competition and here is today's clue. To win a copy of the rather nice catalogue that accompanies the Art In The Age of Steam exhibition all you have to do is identify the object in question (it's an artwork this month) from the clues given every day this week, and email us your answer using the link on the competition page. Best of British.

As you may know the Pier Head is undergoing a bit of a transformation at the moment, and that extends to the statues there. King Edward VII atop his horse has undergone a face lift, spending the last few months in a studio at the National Conservation Centre - he almost didn't fit in. Work to remove the grime is now finished (this photo was taken pre-conservation) and you are invited to come along and meet 'King Eddie' before all 16ft of him is hoisted back on top of a granite plinth at the Pier Head. There's a special open day this Thursday - 17 April - from 1-4pm when you can chat to conservators and see long-obscured features up close. Just come to the information desk at the main entrance on Whitechapel and you'll be shown through to the studio.

Here's the final blog post from Tom McConnell, our work placement student and Beatles fan, who has been lucky enough to see some rather special objects from the band's history.

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Hi

On Tuesday and Wednesday I have been working on the Beatles stage that John Lennon played on when Paul McCartney first met him. I had to sand parts of it and help take it apart before it is fully constructed.

Today I have been in paper conservation where I found all the Beatles autographs!! and I also saw many other Beatles items such as a Beatles writing pad.. Beatles stockings.. Beatles tickets.. Beatles newspapers.. and much more.

There are many many reasons why the exhibition Metropolis: capturing modern Liverpool, which has just opened at the National Conservation Centre, is really rather brilliant.

Firstly the photographs, which all come from the Stewart Bale collection held at the Maritime Archives and Library, are all stunning. If you don't believe me, The British Journal of Photography (who know a bit about these things) described the name of Stewart Bale as being "associated with a quality of performance never equalled in the field of photography".

Secondly, they document a period of tremendous change and significant events in Liverpool's history, including the construction of the Anglican cathedral and launch of the Mauretania II at Cammell Laird to name just a couple.

Thirdly, there are lots of instantly recognisable local streets and landmarks in the photographs. Some of them have changed significantly, others are only subtley different now, but all of them make really absorbing images. I really like the view across the city's rooftops from 1934, which includes St Luke's church and the partially built Anglican cathedral. Since then the cathedral's tower has been finished but the church (known locally as 'the bombed out church') is now an empty roofless shell, so you still wouldn't get a completed view of both buildings today.

Need I say more? Do pop in if you have a chance, you've got until 10 August when the exhibition closes.

Can't believe no one's got this yet - thought it would have gone yesterday. The prize in this month's Name That Object game is still not won and today is the last day. This is today's clue - bit of a give away. All of this week's clues, plus the link to enter the competition, are on the Name That Object page. The prize is the catalogue from the recent Joseph Wright of Derby in Liverpool exhibition.

The second of what will hopefully be a monthly feature (prizes allowing) begins on Monday. Name that Object shows a new detail from an object in our collection every day for five days. Could be from any venue and any collection.  To win the prize all you have to do is identify the object and be the first to mail us the correct answer (use the 'contact us' form link on the competition page). As there's only one prize - the rather excellent catalogue that accompanied the recent Joseph Wright of Derby in Liverpool exhibition - most of you will be 'playing for fun', and it is fun as you'll discover if you check out last month's game - bit of a warm up for you.

Here's a snap of last month's prize - a Superlambanana now christened Hogarth (I'll leave you to figure out why) - happily ensconced in his new home. His new owner got the answer right on clue one so you'll probably have to be there from kick off on Monday to be in with a chance. To make it a bit easier I'll tell you it is a painting and it is featured on our website.

You can also play via the rss feed so there's no chance of you missing a clue.

Admit it - in your rush to get to see the portraits of Henry VIII and Elizabeth I at the far end of the Walker you've probably dashed past most of the other Medieval and Renaissance paintings without giving them a second glance. Which is a shame because there are some real gems on display.

Take 'St Bernardino Preaching' by Francesco di Giorgio for example, which is the Walker's picture of the month in March. It's being highlighted following recent conservation treatment, which has brought all of the vibrant colours and incredible detail in this busy scene back to vivid life. Have a look at our online feature about the conservation of 'St Bernardino Preaching' to see images of the painting before, during and after treatment, plus some fascinating insights into the techniques used by the artist.

There are also some gallery talks about the painting this month. Curator of continental European art Xanthe Brooke will be giving the first talk today at 1pm. Then Nicola Christie, the head of paintings conservation, will be talking about the conservation of the painting on Thursday 13 March, also at 1pm. See the Walker Art Gallery's What's On page for further details.

Today we've launched what will hopefully become a regular feature on the site - our 'Name that Object' competition. We'll be revealing a new detail of an object (it's an artwork this time - bit of a clue for you there) every day for a week with the answer at the end. This is today's clue. There's a prize of a miniature Superlambanana to the first person to correctly identify the piece and to email us the answer using the form on the competition page.

If you're as forgetful as me you can always subscribe to the rss feed to get updates, or just click backwards to see previous clues. And as a final hint I'll tell you that the object is somewhere on our website. There, I've said too much already...

The recent refurbishment of Sudley House gave our conservators the opportunity to spend some quality time with the paintings and objects on display there. A new online feature about the conservation of one of Sudley's paintings, Gainsborough's portrait of 'Viscountess Folkestone', reveals some interesting discoveries that conservators have made about the materials and techniques used.

Their analysis has shown that Gainsborough completely changed the composition of the portrait, painting over the initial landscape in the background to move the setting indoors. This may seem quite considerate for the elderly Viscountess, bringing her inside into the warmth (especially on a windy day like today). However, he also abandoned her initial seated pose and made her stand up in the finished painting, which is no way to treat an elderly widow if you ask me.

The study of the painting has also revealed information about the pigments and paint medium used. It's a great example of how conservators use modern techniques to study old objects in the collections and try to piece together information about their past.

Now it’s coming to the end of the year. Your reindeer antlers are drooping after the office Christmas party, the sequins on your party dress are fading and you’re wondering what happened to that pile of sprouts you hid behind the piano to avoid eating them (and avoid upsetting your host). So while you consider if you can stomach another mince pie, why not have a think about your favourite National Museums Liverpool exhibition from 2007 and vote in our online poll!

Did ‘Doves and Dreams’ inspire you way back in Spring of this year? Or did you enjoy getting an intimate glimpse of The Beatles with Michael Peto’s revealing photography exhibition? Have your say and come back to find out the results in January. Once you’ve voted, you can also check out our program of events for 2008 here…

Note: Now These Days Are Gone, Victorian Visions, Magical History Tour and Merchant Palaces are continuing into 2008.

Textile conservator Anne-Marie Hughes has been preparing this 2000 year old Egyptian shroud for display in the new Egyptian gallery at World Museum Liverpool, which opens next year. I was privileged to see it in her studio while she was working on it.

The shroud was framed in the 19th century and had been glued to the back board, so Anne-Marie has had to remove it, which was quite a job, before remounting it on silk. You can see photos of the shroud with the backing board and the silk backing on our Flickr page.

The pink paint on the shroud is going to be analysed to see if it's from Rio Tinto in Spain. Recent research by the Brooklyn Museum has revealed Spanish paint on one of their mummies.

Head of Antiquities Ashley Cooke told me more about the shroud itself:

"This is a small fragment from a large painted linen shroud that once was wrapped around a mummified body. It dates to circa AD 100 - 200, a time when Egypt was a province of the Roman empire. Mummification continued to be practiced during the Roman period but the techniques employed were inferior to those of earlier periods. It was common for greater attention to be devoted to the external appearance of the wrapped mummy. Shrouds were painted with portraits representing the deceased in poses adapted from Hellenistic Greek repertoire. The Liverpool shroud depicts the transfigured dead person who has assumed the identity of Osiris, appearing in mummy form in frontal pose. Osiris is wearing the Atef crown with a plume on either side and a small disc and uraeus at the centre. His hands clasping across his chest hold the flail and sceptre of Egypt.

The shroud was found in Egypt in 1870 but other information about the excavation was not recorded. The museum acquired this piece from the collection of the famous pharmaceutical entrepreneur Sir Henry Wellcome in 1973.
 
Funerary shrouds such as this offer an interesting conjunction of Greek, Roman and Egyptian forms of representing the individual. Over the next year the museum will be carefully studying the iconography and artistic techniques used to further our understanding of this fascinating and beautiful object."

The National Conservation Centre was swinging when I popped in this morning. Musicians were tuning up ready for the launch of Sunday Jazz our smooth new musical offering. Representatives from TONY! TONY! TONY! and the Martin Smith quartet were checking out Café Eros where they will be performing live jazz sets on Sundays from 12-3pm. I was treated to a couple of impromptu numbers and I think their cool jazz classics are perfect for soothing away any Saturday night induced fevers and trust me their Latino rhythms will get you dancing your way into next week. Apologies to Monday morning passengers on the Northern Line, there's a good chance I may be Jitterbugging down the aisles for the next few weeks.

Noticed that tomorrow night (Tues 23 Oct) at 11.20pm BBC2 are showing a documentary looking at the making of the Beatles' second film, 'Help!' If you've not already seen our exhibition, 'Now These Days Are Gone' which is also based on 'Help!', the programme might whet your appetite for all things Fab Four.

Football seems to be a bit of a touchy subject today for some reason. So here's a story about a major trophy that isn't in any danger of leaving England, in case that cheers up a few football fans out there.

In 2005 the oldest surviving FA Cup (produced in 1896 after the original trophy was stolen) was up for auction and in danger of going overseas. Luckily businessman David Gold, director of Gold Group International and chairman of Birmingham City Football Club, saved it for the nation and gave it to the National Football Museum in Preston on a long term loan basis, so that it could be seen and enjoyed by all football fans.

At the invitation of the National Football Museum, he then commissioned Conservation Technologies to produce an accurate replica of the trophy for his private use. They worked with silversmiths BDG Manufacturing Ltd and the Jewellery Industry Innovation Centre to produce the replica shown here, using a combination of cutting edge laser scanning technology and traditional skills.

David Gold was delighted with his replica trophy and the National Football Museum is ‘over the moon’ with the original. Find out more in a case study about how the FA Cup was replicated on the Conservation Technologies website.

Rachel Swift has spent the last 12 month on an internship at the National Conservation Centre (NCC) in the Ceramics and Glass section. This is a review of her final major activity - a conference in Slovenia.

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The 4 September was my last day at NCC as part of a 12 month training partnership between National Museums Liverpool (NML) and Icon (Institute of Conservation) funded through the Heritage Lottery Fund Training Bursary Scheme.  Having just spent all of last week, 27–31 August at a fantastic conference I am now all inspired and eager to share my experiences. The conference was an ICOM-CC (International Council of Museums – Conservation Committee) Ceramics and Glass Working Group Interim Meeting, held in Nova Gorica, Slovenia which is on the border with Italy. The last working group meeting was six years ago in Finland so it was a great opportunity for a range of professionals involved with ceramics and glass conservation to get together once again and take part in this information sharing forum made up of sixty five delegates from twenty one countries.  In particular it was an opportunity to meet conservators and museum professionals from Eastern Europe who may normally find it difficult to attend such events. 

Twenty three speakers provided a broad range of interesting presentations on technical, practical, scientific and education related topics.  Complementing these presentations were a display of five posters about specific ceramic and glass conservation projects or related work, which provided a colourful and interesting backdrop to the proceedings.   One of these posters (shown) was about the work I have been carrying out in the Ceramics and Glass Conservation section with Lynne Edge over the last 12 months.  My overall aim was to highlight the benefits of work based training by displaying the range of opportunities availed whilst at NCC in terms of bench-based experience, scientific research and internal and external collaborative projects.  The poster was well received with an hour set aside on the Wednesday afternoon to enable authors to answer questions and discuss the projects displayed. 

The hospitality and the welcome we received from the Slovenian people was astonishing with organised receptions virtually every evening at museums across Slovenia with traditional food and locally produced wine.  The museum hosting the event in Nova Gorica, Goriski Musej, had even re-displayed an entire gallery especially for the event.  From a professional point of view attending conferences such as this one is a highly valuable opportunity to learn, to network and to get to know peers in more sociable surroundings.  I would also highly recommend visiting Slovenia.  As a country the size of Wales with a population of 2million everywhere within Slovenia is easily accessible and from what I saw mainly remains truly beautiful and unspoilt. 

Grateful acknowledgements to: Lynne Edge, Dave Flower, NML design department for assistance with production of the poster and The Zibby Garnett Travelling Fellowship, Icon, and the North West Federation of Museums and Art Galleries for funding the visit.

Our conservators are highly trained intelligent people who do serious scientific work. Most of time anyway - the other week they spent the day playing with toys. David Crombie explains that it was all in the name of science:

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"On Friday 24 August, staff from the National Conservation Centre hosted an ‘x-ray your toys day’ as a fun way of showing children how science can be used to examine things and look inside them.

Children turned up with a variety of toys, and we saw Minnie Mouse, Wilma the teddy, and a little lion from the World Museum Liverpool shop amongst others. Some children who hadn’t known about the day had their toys with them anyway, and joined in the fun.

Apart from finding the squashy stuffing inside the lion, (“I think he’s full of beans!” said his owner…) we found that the inside of the head of a Baby Annabel doll was a complicated mixture of wires, mechanics and such like that gave the x-ray image a very surreal ‘android’ look that wouldn’t have been out of place in an episode of Doctor Who!

Inside a little musical bear, meant to hang on a baby’s cot and play a little tune, we could see the tiny clockwork music-box about 6cm long, with its pegged cylinder ready to turn against the tuned metal prongs.  We could even see the word ‘JAPAN’ in tiny letters on the case.

You can see a Flickr slideshow of x-rayed toys from the event here.

We used the new Konica Minolta Regius 190 digital x-ray reader to look at the items, and the digital plate technology means that the process is quick and easy, with no wet chemical processing of x-ray plates needed. This kind of equipment is more usually seen in hospitals, and has been a very valuable asset to the new Reveal laboratory at the centre.

Everybody had a lot of fun looking at the toys, and we hope to run another one in the future, so look out for the National Conservation Centre What's On listings."

Do you ever get the feeling that you've picked completely the wrong week to go on holiday? While I'm away next week it looks like I'm missing loads of fun here in Liverpool.

Tomorrow the famous ship from the Pirates of the Caribbean films, The Black Pearl, will be visiting Liverpool and docking opposite the Maritime Museum. Sadly Johnny Depp and Orlando Bloom wont be there, but I'm sure it'll still be worth seeing.

Then of course the International Slavery Museum opens on Thursday. Being a nosey type, I had a quick look round this week and even though the displays were still being finished off it already had the wow factor.

To top off the week, visitors are invited to bring in their toys to be x-rayed in the Reveal gallery of the National Conservation Centre on Friday from 12.30-3.30pm. At last, the chance to discover the inner workings of your favourite playthings - don't pretend that you're not even the tiniest bit curious to see what makes your teddy bear growl. See the full details on the Conservation Centre's What's On pages.

For many years the Richard Ansdell painting The Hunted Slaves was a familiar sight above the grand staircase of the Walker Art Gallery. However, sharp eyed visitors will have noticed that the painting is no longer there.

Although it hasn't been on public display, the painting has still been the centre of attention behind the scenes at the National Conservation Centre, where our conservators have examined it and prepared it to go to a new venue.

This morning the painting was taken to the Albert Dock, where it will soon be going on display again in the new International Slavery Museum. As you can see, moving such a huge painting is a big operation as it takes several people just to lift it. It was in safe hands with the museum's specialist handling team though, who soon got it inside.

Lucy Johnson has been keeping us posted about the installation of 'Menagerie' at the Walker. She's not the only exhibition officer who has been busy lately though. Linda Brizell has sent over this sneaky peek of the next exhibition to open at the National Conservation Centre this Saturday, which she reckons fans of a certain band will love:

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"Last week I was on gallery for the installation of Now These Days are Gone, an exhibition consisting of over 40 fantastic photographs taken by Michael Peto during the filming of Help! The photographs range from filming on a very cold Salisbury Plain, having tea at the Antrobus Arms to at home with Ringo, Maureen and their pet dog, Tiger. The exhibition will be of great interest to any Beatles fan as it gives a glimpse of the famous four off-guard and relaxed.

This will be the first time the photographs have been shown in the North West, they have previously been on shown in London, Dundee and Ireland.

Now These Days are Gone opens on Saturday 18 August and runs until Sunday 2 March 2008."

Last year textile conservator Anne-Marie Hughes helped prepare some of the best looking mannequins ever to set foot in a gallery, with the Inspiration - forty years of designer fashion display at the Walker. Last week she brought that touch of glamour to the Battle of the Atlantic gallery in Merseyside Maritime Museum, with a quick makeover for one of the mannequins on display.

The mannequin, inspired by the photograph of a WREN on this web page, needed a new wig as her old wig was looking a bit worse for wear.  You can see a few photos in this Flickr slideshow of Anne-Marie at work replacing the wig. She describes how the job took an unexpected turn below.

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"The mannequin makers had stuck the wig on with some serious epoxy adhesive and had stuck some of the hair to its face, I assume in error.

This job was a bit of a departure for me, I have to say I'm not usually called upon to remove facial hair from mannequins mainly because they don't usually have it (particularly female ones), but I do think the mannequin looks refreshed after her makeover."

It's all go down at Merseyside Maritime Museum. The Transatlantic Slavery Gallery in the basement closed on Sunday, as part of the preparations for the new International Slavery Museum, which opens upstairs on the third floor on 23 August.

With less than 2 months to go before the opening, staff have had to work fast. When I popped in today it looked as if at least half of the objects had already been taken out of their cases. Most of these are now being checked and treated in the National Conservation Centre before going on display in the new museum.

I was just in time to see curator Angela Robinson removing an ivory anklet from a former display of artefacts from West Africa. If I'd been any later I would have been photographing an empty case!

The new displays will include familiar objects from the old galleries, which will be joined by new acquisitions, items that are currently in storage and specially commissioned artworks, such as the Freedom! sculpture that is currently on tour.

Everyone has been talking about the two new exhibitions at the Walker, Out of this World and Unnatural selection. However, for the staff at the National Conservation Centre, those shows are so last week. Paintings conservators David Crombie and Rebecca Kench are already preparing paintings for the Walker's next big exhibition about Joseph Wright of Derby, which opens in the autumn.
 
I popped in today to see them conserving two of the Walker's portraits by the artist, of Fleetwood Hesketh and his wife Frances Hesketh. You can see a Filckr slideshow of the partly-conserved paintings here.

David updated me on the progress so far:

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 "When these paintings were hanging in the gallery they appeared to be in good condition, apart from their slightly discoloured varnish. However nobody expected how discoloured the varnish and dirt layers would turn out to be.   Once the varnish and dirt were removed, we could see the bold areas of colour and Wright's distinct subtle purples that were somewhat obscured until now. It's remarkable just how bright the paintings really are.
 
The yellowing of the varnish is a result of the gradual oxidation and degradation of natural resin varnishes over time. Underneath, the original paint is generally in very good condition and these portraits are good examples of a sound oil painting technique. Wright painted them in a very consistent manner and didn't use any particularly radical techniques, unlike Sir Joshua Reynolds for example, who could be more experimental. 

One interesting thing that we noticed in another portrait being lent to the exhibition from a local collection is that the lady in the painting appears to be wearing a similar blue material wrap and wristband to the ones worn by Frances Hesketh in the Walker's portrait. The wrap is even tied in a similar way at the front. This may mean that they were studio props given to sitters by Wright. However, we'll have to check to confirm this when the loan painting comes in and we can examine them properly together."

In December 2005 you may remember that Blackie, the much loved rocking horse from Blackler's Department Store and Alder Hey Children's Hospital, went on display at the Museum of Liverpool Life for the first time after being kindly donated by the hospital.

This image of Blackie been ridden in the children's clothing department shows how much pleasure he brought to generations of Liverpool children.

The following is just one of the happy memories in the comments book from the display. "Blackie was a childhood friend to us kids - to us he was real!" L.F., Old Swan.

I noticed on Liverpool Blogs this morning that Mark McNulty now has his own blog.

Mark was one of the two photographers featured in our Street Life exhibition at the National Conservation Centre last year. His blog promises to 'include news, recent photographs, published work and selections from the archive'.

The Walker Art Gallery played host to a musical icon this afternoon as Liverpool legend Gerry Marsden joined local school children for the launch of Merseyside Walk to School week. Pupils across the country are taking part in this national initiative aiming to cut down on pollution caused by the daily school run. It seems no matter how small the feet there’s no escaping those carbon footprints. Gerry got some practice in for Athens and gave us a quick blast of ‘You’ll Never Walk Alone’ - let’s hope for more triumphant renditions next week.   

If you’re still not convinced of the merits of shanks’ pony head over to the National Conservation Centre and check out The Long Way Home. Bernard Fallon captured many of the Liverpool images featured in this exhibition on his walk to Art School. Documenting the changes to Liverpool’s landscape, both physical and social, Bernard’s photographs capture the essence of the city. Something that can be all too easily missed as we race by.   

For Museums and Galleries Month I've been asking which everyone to nominate which people from the past related to our collections they would bring back if they could, so it seems only fair that I should share my suggestions. It has taken me a while to think of somebody, mainly because there's so many to choose from, I just couldn't decide.

It'd be interesting to talk to any of the sailors from past centuries related to the Merseyside Maritime Museum's collections - the people who set out to sea during an era when they were never really sure if they'd make it home safely again. I'm sure they'd all have some great tales of their adventures on the ocean wave, but I can't narrow down my choice to just one.

I'd also like to talk to the person who did some rather strange things to a 15th century painting of St Michael and the Dragon, which were discovered by our paintings conservators recently, as I'd like to know how they could treat a work of art that way.

I'm tempted to have stern words with the questioning soldier in the painting 'And when did you last see your father?' and tell him to pick on someone his own size, but I realise that he's not real so doesn't really count.

So in the end I've decided that the person I'd bring back would be Mrs Emily Tinne, whose enormous collection of clothing was the focus of the exhibition A Passion for Fashion last year. I'd love to take her shopping to see what she thinks of all the designer shops springing up in Liverpool now. Today's clothing may be a bit too daring for her tastes, but I'd