Posts tagged with 'conservation'
Volunteers are an integral part of National Museums Liverpool, and without them, important work would not be able to take place. As part of the Volunteer Spotlight series we will be meeting up with volunteers who have been making outstanding contributions to the organisation and finding out more about the work that they do.
For this month’s spotlight, I was able to make my way to the waterfront in the beautiful February sunshine (hopefully not too much of a distant memory by the time you read this) to meet Andrew Richardson, a Regional Archaeology volunteer who volunteers with Vanessa Oakden, Curator of Regional and Community Archaeology in National Museums Liverpool’s Archaeology department. Read more…
8 December 2018 by Liz
Today we have a guest blog from Anna Dembicka, who has worked on the Galkoff’s and Secret Life of Pembroke Place project as an ICON Ceramics Intern. Anna’s detailed work on the tiles with the Edge Conservation team has brought them back to beautiful condition for display in the People’s Republic gallery at the Museum of Liverpool.
‘There are few people in Liverpool who don’t immediately recognize the green façade of the tiled Galkoff Kosher butcher’s shop. Having travelled past it on my way to university every day, I often thought about what its history and its future fate might be. But it never crossed my mind then that a few years later I would have the privilege of helping to restore it to its former glory Read more…
2 May 2018 by Ann
We’re preparing to bring a little bit of city life to Port Sunlight and the Lady Lever Art Gallery this week as we countdown to the opening of our spring exhibition Whistler & Pennell: Etching the city on Friday 4 May.
Profiling the work of American artists; James McNeill Whistler and Joseph Pennell who made London their home, the exhibition reveals their passion, innovation and influence upon an artistic technique that at the time was in decline.
23 March 2018 by Lottie
Last year, the Walker Art Gallery received a request for the loan of John Gibson’s Tinted Venus from the Metropolitan Museum of Art in New York. John Gibson was a neo-classical sculptor who worked from studios in Rome. He first showed this sculpture at the 1862 International Exhibition, where his use of colour on marble caused quite a stir.
While many were critical of this ‘new’ way of presenting sculpture, Gibson was in fact referencing the ancient Greek practice of fully painted statuary. Gibson went on to receive commissions for two more Tinted Venuses.
This particular sculpture hadn’t been on loan since the mid-1990s and required a thorough inspection in order for us to make an informed decision about whether it could be considered for international travel. Read more…
As one of the most recognisable works from the Lady Lever Art Gallery’s collection and among William Holman Hunt’s most famous paintings The Scapegoat often attracts a lot of attention. In art gallery circles this results in frequent requests to loan the painting for exhibitions across the world. It is our role at National Museums Liverpool to ensure above all that artworks are accessible to as many people as possible, and that they are preserved for generations to come to enjoy as we do today.
6 December 2017 by Liz
If you’re travelling in to Liverpool via London Road, you might spot some activity around the old Galkoff’s Kosher butcher’s shop. As part of the Galkoff’s and the Secret Life of Pembroke Place project the beautiful green tiles from the building are being carefully removed by professional conservators, and will be cleaned and consolidated. Bringing the tiles indoors will ensure their long-term survival. Liverpool School of Tropical Medicine (LSTM) now own the building, and are working with the Museum of Liverpool to preserve the tiles. LSTM are giving the tiles to the museum for their preservation in public ownership in the collections of National Museums Liverpool. The tiles will be mounted and displayed in the Museum of Liverpool from late 2018 for a minimum of five years. Read more…
The practical treatment of Bartolomé Esteban Murillo’s altarpiece Virgin and Child in Glory (1673) finished in August, marking the end of a year-long major conservation project, which you can track in my previous blog posts.
The dramatic history of the painting, including the cutting and removal of the central section of the Madonna and Child, meant that two pieces from the same artwork had separate histories, and thus visually aged differently.
Heritage consultant Heather Roberts will be leading our Tell your story- How to archive workshop on Saturday – the latest of our fantastic free Sankofa project events. You can book your place by following the link here.
Heather tells us about some of the really interesting work she’s been doing in Manchester to support communities uncovering their own hidden histories:
“On the Hidden Histories, Hidden Historians project with Manchester Histories, I am working with five community groups on a wonderful archive project. I am guiding them through the process of finding, valuing and displaying their history.
One such organisation is Oldham Youth Council. They wish to reveal the heritage and histories hidden in their members’ families to highlight how diversity makes for stronger teams with shared goals. Read more…
Whilst having a stand at the Granby Street Market, I was lucky enough to meet Betty Vandy and try some of her amazing food. I told her about the Sankofa project and she told me all about her cook book collection. I’ll let Betty tell you more.
“My books are almost as important as the food I cook. I started collecting my now nearing three hundred strong cook book collection well over twenty two years ago.
I remember my first significant purchases, a set of seven vintage cook books published in the 1960s, I paid five pounds and they were and still are in excellent condition. But more importantly the recipes are detailed, accurate and they work! Read more…
The practical treatment of Bartolomé Esteban Murillo’s altarpiece Virgin and Child in Glory (1673) has been progressing at a steady pace. My initial examinations, discussed in my last blog, involved investigating the layer of varnish on the surface of the painting…