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Louis Pomerantz papers, 1937-1988, bulk 1950-1988

Creator:
Pomerantz, Louis, 1919-1988  Search this
Subject:
Wilke, Ulfert  Search this
Stout, George L. (George Leslie)  Search this
Stolow, Nathan  Search this
Konrad, Anton  Search this
Feller, Robert L.  Search this
International Institute for Conservation of Historic and Artistic Works  Search this
Eastman Kodak Company  Search this
Art Institute of Chicago  Search this
American Institute for Conservation of Historic and Artistic Works  Search this
Smithsonian Institution  Search this
Rijksmuseum (Netherlands)  Search this
Type:
Photographs
Interviews
Illustrations
Sound recordings
Topic:
Flood damage -- Italy -- Florence  Search this
Museum conservation methods -- Study and teaching  Search this
Art -- Conservation and restoration -- Study and teaching  Search this
Art -- Conservation and restoration -- Technique  Search this
Museum conservation methods -- Technique  Search this
Record number:
(DSI-AAA_CollID)9552
(DSI-AAA_SIRISBib)211752
AAA_collcode_pomeloui
Theme:
Art Materials, Techniques, and Studio Art Education
Chicago's Art-Related Archival Materials: A Terra Foundation Resource
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211752
Online Media:

W.G. Constable papers, 1905-1983, bulk 1920-1976

Creator:
Constable, W. G. (William George), 1887-1976  Search this
Subject:
Phillips, Duncan  Search this
Stout, George L. (George Leslie)  Search this
Canaletto  Search this
Perry, Ralph  Search this
Sachs, Paul J. (Paul Joseph)  Search this
Hencken, Hugh O'Neill  Search this
Vasalle, Rudolph  Search this
Brandt, Mortimer  Search this
Links, J. G.  Search this
Ivins, William Mills  Search this
Frick, Helen Clay  Search this
Gluck, Helen  Search this
National Gallery of Canada  Search this
Watts Gallery  Search this
Christie, Manson & Woods International Inc.  Search this
Fogg Art Museum  Search this
Museum of Fine Arts, Boston  Search this
American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas  Search this
Germany (Territory under Allied occupation, 1945-1955 : U.S. Zone)  Search this
Art Gallery of Toronto  Search this
United States  Search this
Allied Forces  Search this
Type:
Photographs
Topic:
World War, 1939-1945 -- Destruction and pillage -- Germany  Search this
Art, European  Search this
Art -- Study and teaching  Search this
World war, 1939-1945 -- Destruction and pillage -- Italy  Search this
Museum curators -- Massachusetts -- Boston  Search this
Art, American  Search this
Art -- Collectors and collecting  Search this
Cultural property -- conservation and restoration -- Germany  Search this
Cultural property -- Conservation and restoration -- Italy  Search this
Art -- Conservation and restoration  Search this
Art historians -- Massachusetts -- Boston  Search this
Museum curators -- England  Search this
World War, 1939-1945 -- Art and the war  Search this
Art historians -- England  Search this
Record number:
(DSI-AAA_CollID)9387
(DSI-AAA_SIRISBib)211584
AAA_collcode_conswmgp
Theme:
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211584
Online Media:

Oral history interview with Louis Sloan, 1991 July 18

Interviewee:
Sloan, Louis B. (Louis Baynard), 1932-2008  Search this
Interviewer:
Veloric, Cynthia  Search this
Subject:
Pennsylvania Academy of the Fine Arts  Search this
Type:
Interviews
Sound recordings
Topic:
Landscape painting -- 20th century -- Pennsylvania -- Philadelphia  Search this
African American painters -- Pennsylvania -- Philadelphia -- Interviews  Search this
Art -- Conservation and restoration  Search this
Art -- Study and teaching -- Pennsylvania -- Philadelphia  Search this
Landscape painters -- Pennsylvania -- Philadelphia -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11496
(DSI-AAA_SIRISBib)214654
AAA_collcode_sloan91
Theme:
African American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214654

Oral history interview with Louis Sloan

Interviewee:
Sloan, Louis B. (Louis Baynard), 1932-  Search this
Interviewer:
Veloric, Cynthia  Search this
Names:
Pennsylvania Academy of the Fine Arts -- Faculty  Search this
Extent:
110 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1991 July 18
Scope and Contents:
An interview of Louis Sloan conducted 1991 July 18, by Cynthia Veloric, for the Archives of American Art Philadelphia Project.
Sloan discusses his background; early art training at the Fleisher Art Memorial; attending the Pennsylvania Academy of the Fine Arts; his instructors including Hobson Pittman and Francis Speight; fellow students including Roy Saunders and Elizabeth Osborne; difficulties he encountered as an African American artist; traveling to Europe on a Cresson fellowship and traveling the United States on a Guggenheim fellowship; teaching at the PAFA and changes in the school; working as an assistant to conservator Ted Siegel at the PAFA and the Philadelphia Museum of Art; the development of his art; subject matter; being a landscape painter; and exhibitions and sales of his work.
Biographical / Historical:
Louis Sloan (1932- ) is a painter from Philadelphia, Pennsylvania.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 53 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics, and administrators.
Restrictions:
Transcript: Patrons must use microfilm copy.
Topic:
Landscape painting -- 20th century -- Pennsylvania -- Philadelphia  Search this
African American painters -- Pennsylvania -- Philadelphia -- Interviews  Search this
Art -- Conservation and restoration  Search this
Art -- Study and teaching -- Pennsylvania -- Philadelphia  Search this
Landscape painters -- Pennsylvania -- Philadelphia -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.sloan91
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sloan91

Louis Pomerantz papers

Creator:
Pomerantz, Louis  Search this
Names:
American Institute for Conservation of Historic and Artistic Works  Search this
Art Institute of Chicago  Search this
Eastman Kodak Company  Search this
International Institute for Conservation of Historic and Artistic Works  Search this
Rijksmuseum (Netherlands)  Search this
Smithsonian Institution. Traveling Exhibition Service  Search this
Feller, Robert L.  Search this
Konrad, Anton  Search this
Stolow, Nathan  Search this
Stout, George L. (George Leslie)  Search this
Wilke, Ulfert, 1907-1987  Search this
Extent:
34.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Interviews
Illustrations
Sound recordings
Date:
1937-1988
bulk 1950-1988
Summary:
The papers of Chicago art conservator, Louis Pomerantz, measure 34.2 linear feet and date from 1937 to 1988, with the bulk of the material dating from the 1950s-1980s. The papers document two principal aspects of Pomerantz's professional life: his conservation work for institutions and individuals, and the development of his professional expertise as documented through his writings and teachings, his continued conservation training, and his involvement in professional organizations. Files include scattered biographical material, professional correspondence, interviews, writings, project and client files, teaching and reference files, printed material, and photographic material primarily documenting conservation treatments and techniques.
Scope and Contents:
The papers of Chicago art conservator, Louis Pomerantz, measure 34.2 linear feet and date from 1937 to 1988, with the bulk of the material dating from the 1950s-1980s. The papers document two principal aspects of Pomerantz's professional life: his conservation work for institutions and individuals, and the development of his professional expertise as documented through his writings and teachings, his continued conservation training, and his involvement in professional organizations. Files include scattered biographical material, professional correspondence, interviews, writings, project and client files, teaching and reference files, printed material, and photographic material primarily documenting conservation treatments and techniques.

Biographical material includes military and educational records, as well as resumés and references from various art institutions and individuals.

Pomerantz's professional correspondence is with other conservators including Anton J. Konrad, Nathan Stolow, and Jean Volkmer, conservation scientists such as Robert L. Feller, and people who assisted Pomerantz early in his career such as George Stout. Also documented is Pomerantz's relationship with the Smithsonian Institution Traveling Exhibition Service (SITES) which undertook his traveling Know What You See exhibition, his involvement with museums and other art institutions, and companies who developed and manufactured conservation equipment such as Eastman Kodak.

Interviews include circa 9 radio station interviews on sound tape reels and sound cassettes of Pomerantz individually or with others, including a recording of a conversation regarding the Florence flood.

Writings and notes are by Pomerantz and include typescripts, notes and background material for lectures and papers delivered from the 1950s-1980s. Also found is a portfolio of his writings from 1962-1978, and a notebook Pomerantz compiled while working at the Rijksmuseum which includes notes, hand-drawn colored illustrations and photographs of conservation techniques.

Project/client files form the largest series and document Pomerantz's work, both in private practice and as conservator at the Art Institute of Chicago, through conditions reports, recommendations for and records of treatment, related correspondence, financial documentation, and photographic material.

Teaching and reference files comprise material gathered by Pomerantz during participation in professional organizations and events, such as the American Institute for Conservation of Historic and Artistic Works, and the International Institute for Conservation of Historic and Artistic Works. Also found are subject files, consisting of reference material and correspondence, on a wide range of conservation-related subjects.

Personal business records from the 1950s consist of receipts for conservation-related supplies and one folder of business tax records.

Printed material primarily includes news clippings documenting Pomerantz's career up to and including the 1970s, clippings on conservation-related news, blank postcards of artwork, and two exhibition catalogs.

Photographic material includes images demonstrating a wide variety of conservation techniques, including sets of slides used for lectures and presentations, and images of Pomerantz at work. Also found are photos of artists including Ulfert Wilke. Photographic media include black and white and color photos, slides, glass slides, X-rays and corresponding prints, negatives and 5 glass plate negatives.
Arrangement:
The collection is arranged as 9 series. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Material, 1940s-1980s (12 folders; Boxes 1, 33)

Series 2: Correspondence, 1940s-1988 (3.6 linear feet; Boxes 1-4)

Series 3: Interviews, 1961-circa 1970s (8 folders; Box 4)

Series 4: Writings and Notes, 1950s-1980s (2.8 linear feet; Box 7)

Series 5: Project/Client Files, 1950s-1987 (13.8 linear feet; Boxes 7-20)

Series 6: Teaching and Reference Files, 1940s-1980s (3.9 linear feet; Boxes 20-24)

Series 7: Personal Business Records, 1950s (0.6 linear feet; Boxes 24-25)

Series 8: Printed Material, 1937-1970s (0.6 linear feet; Boxes 25, 33)

Series 9: Photographic Material, 1940s-1980s (8.4 linear feet; Boxes 25-36, OV 37, MGP 1)
Biographical / Historical:
Chicago art conservator Louis Pomerantz (1919-1988), established and operated the conservation lab at the Art Institute of Chicago and then maintained a private practice conducting conservation work for individual collectors and various museums and art institutions in the midwest.

Pomerantz had originally intended to be an artist and enrolled at the Art Students League. After serving in World War II, he returned to Europe to study conservation as an apprentice to a private restorer in Paris, followed by a year spent working under the chief restorer at the Rijksmuseum in Amsterdam, and study at the Courtauld Institute and the National Gallery in London. As head of the Art Institute of Chicago's first conservation lab from 1956-1961, Pomerantz employed new and emerging techniques such as powerful binocular microscopes, ultra-violet, infra-red and X-ray machines to study paintings, and a hot table to bond new canvasses to support old ones. Following his resignation from the Art Institute of Chicago to pursue his private practice, Pomerantz organized conservation training programs, and wrote widely on conservation. He served on the American Institute for Conservation of Historic and Artistic Works (AIC) and was a member of the committee which adopted the AIC's first code of ethics for art conservators in May 1967. He became consultant to various art and natural history museums including the Field Museum of Natural History in Chicago, where he formed part of the conservation team that completed an extensive renovation of the museum's Javanese gamelan ensemble composed of 23 brass and wood musical instruments.The gamelan was presented and played for the first time since 1893 in 1978, following the restoration.

Pomerantz also organized several museum exhibitions on conservation, including Know What You See, which was shown at more than 100 museums around the United States, Canada and Mexico, as part of the Smithsonian Institution Traveling Exhibition Service (SITES).
Provenance:
The Louis Pomerantz papers were donated to the Archives of American Art by Else Pomerantz in 1988.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington D.C. research center. Use of audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Louis Pomerantz papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Conservators -- Illinois -- Chicago  Search this
Topic:
Flood damage -- Italy -- Florence  Search this
Museum conservation methods -- Study and teaching  Search this
Art -- Conservation and restoration -- Study and teaching  Search this
Art -- Conservation and restoration -- Technique  Search this
Museum conservation methods -- Technique  Search this
Genre/Form:
Photographs
Interviews
Illustrations
Sound recordings
Citation:
Louis Pomerantz papers, 1937-1988, bulk 1950s-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pomeloui
See more items in:
Louis Pomerantz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pomeloui
Online Media:

W.G. Constable papers

Creator:
Constable, W. G. (William George), 1887-1976  Search this
Correspondent:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Art Gallery of Toronto  Search this
Germany (Territory under Allied occupation, 1945-1955 : U.S. Zone). Office of Military Government  Search this
National Gallery of Canada  Search this
Watts Gallery  Search this
Brandt, Mortimer  Search this
Frick, Helen Clay, 1888-1984  Search this
Gluck, Helen  Search this
Hencken, Hugh O'Neill  Search this
Ivins, William Mills, 1881-1961  Search this
Links, J. G.  Search this
Perry, Ralph  Search this
Phillips, Duncan, 1886-1966  Search this
Sachs, Paul J. (Paul Joseph), 1878-1965  Search this
Stout, George L. (George Leslie)  Search this
Vasalle, Rudolph  Search this
Names:
American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas  Search this
Christie, Manson & Woods International Inc.  Search this
Fogg Art Museum  Search this
Museum of Fine Arts, Boston  Search this
United States. Internal Revenue Service  Search this
Canaletto, 1697-1768  Search this
Extent:
25.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Place:
Germany (Territory under Allied occupation, 1945-1955)
Date:
1905-1983
bulk 1920-1976
Summary:
The papers of art historian and museum curator W.G. (William George) Constable measure 25.7 linear feet and date from 1905 to 1981, with the bulk of the material from 1920 to 1976. The papers include biographical material; professional and personal correspondence; extensive lectures, writings, and notes; exhibition and book research files; printed materials; and photographs, glass plate negatives, and slides. There is substantive correspondence related to Constable's participation in the American Defense Harvard Group and about the formation of the Roberts Commission, including correspondence with Ralph Perry, Hugh Hencken, Paul Sachs and George L. Stout. There are numerous official reports prepared by Constable after World War II for the U. S. Office of Military Government for Germany.
Scope and Contents:
The papers of art historian and museum curator W.G. (William George) Constable measure 25.7 linear feet and date from 1905 to 1981, with the bulk of the material from 1920 to 1976. The papers include biographical material; professional and personal correspondence; extensive lectures, writings, and notes; exhibition and book research files; printed materials; and photographs, glass plate negatives, and slides. There is substantive correspondence related to Constable's participation in the American Defense Harvard Group and about the formation of the Roberts Commission, including correspondence with Ralph Perry, Hugh Hencken, Paul Sachs and George L. Stout. There are numerous official reports prepared by Constable after World War II for the U. S. Office of Military Government for Germany.

Biographical material includes W.G. Constable's curriculum vitae; club memberships; personal, educational, and military records; three memorial essays and obituaries; five address books; appointment books dating from 1930-1968; and financial records related to personal business travels.

Correspondence is mostly professional and arranged into General, Committee, Condolences, and J.G. Links. General correspondence is with friends, business associates, auction houses, galleries, and museums. The letters cover a wide variety of professional work, such as research projects, letters of inquiry and recommendation, and work done for Christie's and the Internal Revenue Service. Correspondents include Mortimer Brandt, Helen Frick, Helen Gluck, William Ivins, Duncan Phillips, Paul Sachs, and Rudolph Vasalle, among many others.

Committee related correspondence includes letters, memoranda, and reports related to ongoing committee objectives, projects, and routine activities. There is correspondence related to Constable's advisory work with the Art Gallery of Toronto, the National Gallery of Canada, and the Watts Gallery, among other projects. Condolences consists of letters and cards received by Constable's wife, Olivia, after Constable's death. Correspondence with J.G. Links is primarily about the second edition revision of Constable's book Canaletto.

There are over 170 drafts of Constable's notes and outlines for lectures. Topics range from 13th-20th century European and American art to museum conservation, ethics, art education, and art collecting. The series also includes lecture notes from organized touring trips to Canada, Northern Europe, Scandanavia, and Poland.

Writings consist of Constable's published and unpublished articles, articles submitted for the Encyclopedia of World Art, essays, notes, exhibition catalogs, translations, and drafts and research material related to Art Collecting in the United States, Art History and Connoisseurship, and The Painter's Workshop.

Files specifically documenting Constable's advisory role in the World War II American Defense Harvard Group drafting and organizing lists of men with curatorial, museum conservation, or library/archives backgrounds to aid in the protection European most valued cultural artifacts, artwork, and architecture. There are letters documenting the formation of the Harvard Group and its goals and objections. The files also include many of the original lists that were forwarded to the Commission for the Protection and Salvage of Artistic and Historic Monuments in Europe, also known as the Roberts Commission, eventually leading to the formation of the U.S. Army's Monuments, Fine Arts, and Archives division. The series also includes the Harvard Group's manual Safeguarding and Conserving Cultural Materials in the Field, committee minutes, and clippings related to their work. Correspondents include Ralph Perry, Paul Sachs, George L. Stout, and Hugh Hencken.

Constable's work after the war for the U.S. Office of Military Government for Germany is documented through numerous reports, memoranda, letters, and other official documents from the U. S. Army to Constable about surveying the state of German and Italian art institutions after World War II. The series also includes Constable's notebook "Visits in Germany" (1949), and a copy of his report Art and Reorientation: Status and Future of Museums and the Teaching of Art in Western Germany.

Exhibition files contain correspondence, notes, lists, research material, and reports related to exhibitions that Constable organized prior to his employment by and after his retirement from the Boston Museum of Art.

Research files contain materials relevant to Constable's interests and include notes, lists, correspondence, and printed and photographic reference material. These subject areas cover artists, including extensive files on Canaletto and other vedute painters, museum conservation, museums and galleries, private and public art collections, and schools of art.

Printed materials include clippings, programs, book excerpts and other miscellaneous printed materials.

Photographic materials include prints of Constable with friends and family, as well as prints, glass negatives and slides of artwork. There are also prints of the Fogg Art Museum's interiors and exterior and interior shots of Tennessee Valley Authority dam projects.
Arrangement:
The collection is arranged as 10 series.

Series 1: Biographical Materials, 1905-1983 (1.2 linear feet; Box 1-2, OV 28)

Series 2: Correspondence, 1906-1981 (6.2 linear feet; Box 2-8, OV 28-29)

Series 3: Lectures, 1909-1963 (4.6 linear feet; Box 8-12)

Series 4: Writings and Notes, 1910-1974 (2 linear feet; Box 13-14)

Series 5: American Defense Harvard Group, 1942-1946 (0.6 linear feet; Box 15)

Series 6: Office of Military Government for Germany, 1947-1952 (0.3 linear feet; Box 15)

Series 7: Exhibition Files, 1930-1969 (1 linear foot; Box 15-16, OV 29)

Series 8: Research Files, 1922-1976 (7.5 linear feet; Box 16-24, OV 28-29)

Series 9: Printed Material, 1921-1977 (0.5 linear feet; Box 24)

Series 10: Photographic Materials, circa 1940-1960 (1.4 linear feet; Box 24-27, OV 28-29)
Biographical / Historical:
W. G. (William George) Constable (1887-1976) was a museum curator and art historian who worked in England and Boston.

Born in Derby, England, Constable studied for the bar at Cambridge University, but was encouraged to pursue art over law by the Lord Chancellor who told him that law would be too strenuous after a two year convalescence from gassing during World War I. For three years, he studied at the Slade School and the Bartlett School of Architecture. In 1923, he joined the National Gallery of London where he became the Assistant Director in 1929. In 1930, he accepted the first Director's position at the newly formed Courtauld Institute, where he worked to develop one of the first programs on art history. In 1938, Constable became Curator of Paintings at the Boston Museum of Fine Arts and worked there until his retirement in 1957.

Throughout his career as an arts administrator, Constable remained an accomplished lecturer and held appointments as the Slade Professor of Art at Cambridge (1933-1936), Ryerson Lecturer at Yale University (1940), and the Lowell Lecturer at the Lowell Insitute (1958). As a researcher and art historian, he published a steady stream of essays on European and American art connoisseurship, and authored over ten scholarly books, including The Painter's Workshop (1953), Richard Wilson (1953), and Canaletto (1962), the definitive work on the Venetian master.

Constable was a trusted arts advisor and, in this capacity, worked for the Wadsworth Atheneum from 1943-1945. He also worked closely with Lord Beaverbrook to establish the National Gallery of Canada and later consulted for Sotheby's and the U. S. Internal Revenue Service.

In the years leading to World War II, Constable served as an advisor to the American Defense Harvard Group and was later appointed to the Commission for the Protection of Artistic and Historic Monuments in Europe (the Roberts Commission) by President Roosevelt. The Roberts Commission was responsible for the establishment of the U. S. Army's Monuments, Fine Arts, and Archives section. After the war, Constable served the U.S. government as a member of a commission responsible for the recovery of looted art work and the evaluation of the state of the arts in Germany and Italy.

After his retirement from the Boston Museum, Constable continued to research and write, and also served as president of the International Institute of Conservation (1958-1960) and the Renaissance Society of America (1959-1961). From 1957 to 1966, he worked on behalf of Christie's auction house, where he met with prospective clients and provided preliminary valuations of private art works and collections.

On February 4, 1976, Constable died in Cambridge, Massachusetts from natural causes.
Related Materials:
The Archives also holds additional materials related to W.G. Constable, including an oral history interview with Constable conducted by Robert Brown in 1972-1973, and a photograph and clipping of Constable donated by Eleanor Barton in 1982.

Additional W.G. Constable papers are located at archival materials are also located at St. Johns College in Cambridge,England; the Warburg Institute in London, England; the National Gallery in London, England; and the Society for the Protection of Science and Learning in London, England. Photographs of works art collected by Constable are found at the British Studies Center at Yale University. Records relating to his tenure at the Museum of Fine Arts, Boston are housed there.
Provenance:
The papers of W.G. Constable were donated in multiple gifts from 1978 to 1979 and in 1987 to 1988 by his son Giles Constable. Additional material regarding Constable's research on Canaletto was donated by researcher J.G. Links in 1985.
Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Rights:
The W.G. Constable papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Painters  Search this
Topic:
World War, 1939-1945 -- Destruction and pillage -- Germany  Search this
Art, European  Search this
Art -- Study and teaching  Search this
World War, 1939-1945 -- Destruction and pillage -- Italy  Search this
Museum curators -- Massachusetts -- Boston  Search this
Art, American  Search this
Art -- Collectors and collecting  Search this
Cultural property -- Conservation and restoration -- Germany  Search this
Cultural property -- Conservation and restoration -- Italy  Search this
Art -- Conservation and restoration  Search this
Art historians -- Massachusetts -- Boston  Search this
Museum curators -- England  Search this
World War, 1939-1945 -- Art and the war  Search this
Art historians -- England  Search this
Genre/Form:
Photographs
Citation:
W.G. Constable papers, 1905-1983, bulk 1920-1976. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.conswmgp
See more items in:
W.G. Constable papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-conswmgp
Online Media:

Modern art : the restoration and techniques of modern paper and paints : the proceedings of a conference jointly organised by UKIC and the Museum of London, May 22nd 1989 / editors: Sheila Fairbrass, Johan Hermans

Title:
Restoration and techniques of modern paper and paints
Author:
Fairbrass, Sheila  Search this
Hermans, Johan  Search this
United Kingdom Institute for Conservation of Historic and Artistic Works  Search this
Physical description:
36 p. : ill. ; 30 cm
Type:
Congresses
Date:
1989
Topic:
Artists' materials--Congresses  Search this
Art--Study and teaching  Search this
Art--Conservation and restoration  Search this
Paper  Search this
Pigments  Search this
Call number:
N8530 .M68 1989
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_483612

Video Recordings

Creator::
Smithsonian Institution. Office of Museum Programs  Search this
Extent:
17 cu. ft. (17 record storage boxes)
Type:
Archival materials
Collection descriptions
Videotapes
Video recordings
Date:
circa 1971-1981
Descriptive Entry:
This accession consists of original footage and masters created during the recording and production of training films for docents, museum guards, and conservators. Materials include videotapes.
Topic:
Employees -- Training of  Search this
Occupational training  Search this
Security guards  Search this
Tour guides (Persons)  Search this
Museum docents  Search this
Art -- Conservation and restoration -- Study and teaching  Search this
Paper -- Preservation  Search this
Genre/Form:
Videotapes
Video recordings
Citation:
Smithsonian Institution Archives, Accession 87-099, Smithsonian Institution. Office of Museum Programs, Video Recordings
Identifier:
Accession 87-099
See more items in:
Video Recordings
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-fa87-099

A closer look : Santos from Puerto Rico : Santos from the Vidal Collection, National Museum of American History / Jia-sun Tsang

Author:
Tsang, Jia-sun  Search this
Smithsonian Center for Materials Research and Education  Search this
National Museum of American History (Washington, D.C.).) Teodoro Vidal Collection  Search this
Subject:
Vidal, Teodoro Art collections  Search this
Museum of American History (Washington, D.C.).) Teodoro Vidal Collection  Search this
Physical description:
54 p. : col. ill. ; 28 cm
Type:
Books
Date:
1998
Topic:
Icons, Puerto Rican--Conservation and restoration  Search this
Icons, Puerto Rican--Study and teaching  Search this
Call number:
N8189.P9 T83 1998
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_820257

Die Kunst der Gemäldekopie = The art of copying paintings / herausgegeben von Ivo Mohrmann

Title:
Art of copying paintings
Author:
Mohrmann, Ivo  Search this
Verband der Restauratoren  Search this
Hochschule für bildende Künste Dresden  Search this
Physical description:
195 p. : ill. (chiefly col.) ; 31 cm
Type:
Congresses
Date:
2006
C2006
Topic:
Painting--Reproduction  Search this
Painting--Technique  Search this
Painting--Conservation and restoration  Search this
Painting--Study and teaching  Search this
Call number:
ND1170 .K86 2006
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_867981

In the nick of time : a practical guide to teaching about conservation of objects / [Elizabeth Newbery, Sarah Fecher]

Author:
Newbery, Elizabeth  Search this
Fecher, Sarah  Search this
Great Britain Museums and Galleries Commission  Search this
Physical description:
32 p. : ill., forms ; 30 cm
Type:
Books
Place:
Great Britain
Date:
1995
C1994
Topic:
Art objects--Conservation and restoration--Study and teaching  Search this
Antiquities--Collection and preservation--Study and teaching  Search this
Call number:
N8560.5 .N49 1994
N8560.5 .N49 1994
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_701341

PREMA 1990-2000 : prevention in museums in Africa

Title:
PREMA 2
Author:
International Centre for the Study of the Preservation and the Restoration of Cultural Property  Search this
Physical description:
49 p. : ill. (some col.) ; 21 x 30 cm
Type:
Books
Place:
Africa
Date:
2000
[2000?]
Topic:
Art objects--Conservation and restoration--Study and teaching  Search this
Museum conservation methods--Study and teaching  Search this
Art museums--Study and teaching  Search this
Ethnological museums and collections--Study and teaching  Search this
Call number:
N8560.5 .P92 2000
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_698499

Defining and measuring effectiveness in education and training : proceedings of the Interim Meeting of the ICOM-CC Working Group on Training in Conservation and Restoration, April 16-18, 1998, Vantaa, Finland / edited by Kathleen Dardes

Author:
ICOM Committee for Conservation Working Group on Training in Conservation and Restoration Interim Meeting (1998 : Vantaa, Finland)  Search this
Dardes, Kathleen 1952-  Search this
Evtek Institute of Art and Design  Search this
Physical description:
123 p. ; 30 cm
Type:
Congresses
Date:
1999
C1999
Topic:
Museum conservation methods--Study and Teaching  Search this
Museums--Employees--Training of  Search this
Call number:
AM141 .I17 1998
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_568308

PREMA 88 : Prevention dans les musées africaines, novembre 1988 - octobre 1989 : rapport de fin de cours

Author:
International Centre for the Study of the Preservation and the Restoration of Cultural Property  Search this
Physical description:
1 v. (various pagings) : ill. (some col.) ; 30 cm
Type:
Books
Place:
Africa
Date:
1989
[1989?]
Topic:
Art objects--Conservation and restoration--Study and teaching  Search this
Museum conservation methods--Study and teaching  Search this
Art museums--Study and teaching  Search this
Ethnological museums and collections--Study and teaching  Search this
Call number:
N8560.5 .P92 1989
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_403214

Seminaire à l'intention des directeurs des musées nationaux des pays d'Afrique sub-saharienne, Niamey, 13 au 27 juin 1990

Author:
International African Institute  Search this
West African Museums Project, Dakar  Search this
International Centre for the Study of the Preservation and the Restoration of Cultural Property  Search this
PREMA 1990-2000  Search this
Physical description:
1 v. (various pagings) : ill. ; 30 cm
Type:
Books
Place:
Africa, Sub-Saharan
Date:
1990
1990?]
Topic:
Art objects--Conservation and restoration--Study and teaching  Search this
Museum conservation methods--Study and teaching  Search this
Art museums--Study and teaching  Search this
Ethnological museums and collections--Study and teaching  Search this
Call number:
N8560.5 .S47 1990
N8560.5.S47 1990
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_403216

Training in conservation : a guide to full-time courses in the United Kingdom

Author:
Great Britain Museums and Galleries Commission Conservation Unit  Search this
United Kingdom Institute for Conservation of Historic and Artistic Works  Search this
Physical description:
48 p. ; 24 cm
Type:
Books
Date:
1993
C1993
Topic:
Art objects--Conservation and restoration--Study and teaching  Search this
Call number:
N8560.5 .T76 1993
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_483573

Notes submitted for the course Metals for conservators : sponsored by the Objects Specialty Group, American Institute for Conservation of Historic and Artistic Works, Washington, D.C., May 21-22, 1985

Author:
American Institute for Conservation of Historic and Artistic Works Objects Specialty Group  Search this
Physical description:
122, [97] p. : ill. ; 28 cm
Type:
Books
Date:
1985
[1985]
Topic:
Metals--Conservation and restoration--Study and teaching  Search this
Metal-work--Conservation and restoration--Study and teaching  Search this
Art metal-work--Conservation and restoration  Search this
Call number:
TS653.5 .A512 1985
TS653.5.A512 1985
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_330607

National museum act : report to Paul Perrot

Author:
Cooperstown Graduate Program in the Conservation of Historic and Artistic Works  Search this
Physical description:
1 v. (loose-leaf) : ill. ; 30 cm
Type:
Books
Date:
1977
[1977]
Topic:
Museum techniques--Study and teaching (Graduate)  Search this
Historical museums--Study and teaching (Graduate)  Search this
Art objects--Conservation and restoration--Study and teaching (Graduate)  Search this
Call number:
AM111 .C77 1977
AM111.C77 1977
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_339784

Training in conservation : a guide to full-time courses in the United Kingdom / The Conservation Unit, Museums and Galleries Commission ; United Kingdom Institute for Conservation of Historic and Artistic Works

Author:
United Kingdom Institute for Conservation of Historic and Artistic Works  Search this
Great Britain Museums and Galleries Commission Conservation Unit  Search this
Physical description:
64 p. ; 21 cm
Type:
Books
Date:
1988
C1988
Topic:
Art objects--Conservation and restoration--Study and teaching  Search this
Call number:
N8560.5 .T76 1988
N8560.5.T76 1988
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_378107

Report to the College Council on training provided for conservators overseas : and on the feasibility of introducing courses for conservators in the Canberra College of Advanced Education

Author:
Richardson, S. S  Search this
Dunstone, J. R  Search this
Subject:
Canberra College of Advanced Education  Search this
Physical description:
12, [8] leaves ; 30 cm
Type:
Books
Place:
Australia
Conservation and restoration
Date:
1977
Topic:
Art objects--Study and teaching  Search this
Call number:
N8560 .R525 1977
N8560.R525 1977
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_204293

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