Dec 2010 CAC Bulletin col.p65 - Canadian Association for

Transcription

CAC
ACCR
BULLETIN
Canadian Association for Conservation of Cultural Property / Association canadienne pour la conservation et la restauration des biens culturels
DECEMBER 2010 DECEMBRE Vol. 35 No. 4 ISSN 1206-4653
President’s Letter
Contents
Table des matières
President’s Letter
Lettre de la présidente
1
1
Editors’ Note
Note de la rédaction
3
3
37th Annual CAC Conference
37e Congrès Annuel de l'ACCR
5
5
Membership Renewal
Renouvellement d'adhésion
6
6
Supporting Members
Membres bienfaiteurs
6
6
Call for Nominations
Mise en Candidature
7
7
CAC Grants & Awards Committee
Comité des bourses et des prix de
l'ACCR
8
Basic Paper Conservation Workshop
Report
8
9
Across the Country - Dans tout le pays
Western Region - Région de l’Ouest 10
Eastern Region-Région de l’Est
14
Conferences and Training-Congrès et
formation
Ten Reasons Why You Should
Join CAPC
Dix raisons de devenir membre
de l’ACRP
http://www.cac-accr.ca
19
20
20
Make a Logo for CAPC - Conception d’un
Logo pour l’ACRP
21
With the end of 2010 around the corner bringing with it a renewed appreciation for the passage of time, and with that passage of time an appreciation, and possibly apprehension for the fulfillment of responsibilities, I
would like to take this opportunity to report on what the Board has been
up to in the last several months. As promised, stemming from the Organizational Review undertaken last year, the Board has assigned foci of
responsibility for key operations to our executive and regional councilors.
These are: Workplace Issues, now overseen by Andrew Todd; CAC
Conference, Julia Landry; Website, David Daley; Fundraising, Cindy
Colford; Recruiting and Nominations, Wendy McPhee; and Marketing,
Sales and Promotion, Travel Grants and Awards, Michelle Gallinger. We
hope, as a result of this strategy, to concentrate our energies on issues and
activities fundamental to this organization which provide direct value to the
membership, addressing these in a much more proactive way. By linking
Lettre de la présidente
Cette fin d'année 2010 nous fait prendre conscience du passage du temps,
ce qui nous fait à son tour saisir, voire appréhender, le fait d'assumer ses
responsabilités. Par conséquent, je voudrais profiter de cette occasion
pour vous tenir au courant de ce que le conseil d'administration a accompli
au cours des derniers mois. Comme promis, à la suite de la révision
organisationnelle entreprise l'année dernière, le conseil a attribué la
responsabilité de plusieurs importants secteurs d'activité à nos conseillers
auprès du bureau et à nos conseillers régionaux. Ces secteurs sont les
suivants : Enjeux en milieu de travail, maintenant supervisé par Andrew
Todd; Congrès, Julia Landry; Site Web, David Daley; Collecte de fonds,
Cindy Colford; Recrutement et nominations, Wendy McPhee; Marketing,
ventes et promotion, bourses de déplacement et prix, Michelle Gallinger.
Nous espérons, en mettant en œuvre cette stratégie, pouvoir concentrer
nos efforts de manière nettement plus proactive que dans le passé sur des
questions et des activités primordiales pour notre organisation qui touchent
directement nos membres. En attribuant des secteurs clés à des membres
du conseil, ceux-ci auront obligation de rendre des comptes, ce qui, nous
l'espérons, se traduira par une plus grande efficacité dans la réponse aux
CAC Bulletin de l’ACCR Vol. 35 No. 4 December 2010 décembre
1
individual board members to key activities there is
accountability and, we hope, an increase in rate of
response to concerns and queries as well as, importantly, an infusion of creativity and enthusiasm in proposing new ideas, new directions as well as solutions to
long-standing problems.
One of the pressing issues facing the board is to ensure
an ongoing annual conference. Given the people
power, time and energy expenditures that are required
to plan and to organize these events, coupled with
workshops, it is not surprising that volunteers are
precious- and precious few. The board will be working
toward a solution that, we hope, will lessen the expenditures of people, time and energy, and ensure that the
annual conference and affiliated workshop(s) are there
for the benefit of our membership. In the same vein, the
Winnipeg conference and workshops are well into
development, and we strongly encourage everyone to
attend. These are not just great opportunities for
learning, but for networking as well, not to mention
supporting the organizing committee for whom your
presence is an affirmation of their time and effort. Your
presence, en masse (so to speak) within a city also
increases the visibility of conservation within that
community, and as many of the conferences undertake
to do community outreach, the conference and its
attendees are a fundamental part of advocacy for the
profession. If that were not sufficient incentive, the
chance to see for the first time, or to renew your
acquaintance with a different part of this country, should
provide some impetus to pack one's bags. This organization provides grants for travel to conferences, so
please, take the time, apply for a travel grant and get
there.
On another note, web redesign features large in our list
of hope-to-dos this year. We are currently engaged in
costing out a web redesign for the CAC spearheaded
by Shelagh Linklater and members of the ECC. By
January of 2011 the Board will have a better idea as to
our options. We are considering, as mentioned at the
last AGM, to invest monies from the CAC trust fund to
update the website.
Finally, a heads-up: the CAC will shortly be sending out
a survey. This will not be confined to our membership,
however, will be largely a reflection of this membership
given our numbers. The last survey of this kind was
undertaken in 1990. Our plan is to update the data as
well as to secure new data which we hope will profile
2
inquiétudes et aux demandes formulées par nos
membres ainsi que par une plus grande créativité et un
enthousiasme plus marqué dans la proposition de
nouvelles idées, de nouvelles directions et de solutions à
des problèmes de longue date.
Un des projets importants sur la table du conseil est
d'assurer la pérennité du congrès annuel. Vu le temps et
l'énergie consacrés à la planification et à l'organisation
du congrès et des ateliers, inutile de vous dire que nos
bénévoles sont précieux - et peu nombreux. Le conseil
se penchera sur des solutions pour alléger, nous
l'espérons, les quantités de temps, de ressources
humaines et d'énergie nécessaires à l'organisation de cet
événement et assurer que le congrès comme les ateliers
puissent être offerts chaque année à nos membres. À ce
propos, la préparation du congrès et des ateliers de
Winnipeg est bien avancée et nous vous encourageons
fortement à vous y rendre. Vous y profiterez de
nombreuses occasions d'apprendre et d'élargir votre
réseau de contacts, sans compter que votre présence
sera une façon de récompenser le comité organisateur,
qui a consacré énormément de temps et d'énergie à la
préparation du congrès. De plus, votre présence en
grand nombre dans une même ville permet d'augmenter
la visibilité du domaine de la restauration dans cette
communauté, et comme la plupart des congrès
prévoient un volet d'approche communautaire, le
congrès et les personnes qui y assistent sont en soit un
élément primordial de sensibilisation à notre profession.
Et si ce n'est pas assez pour vous convaincre, n'oubliez
pas que vous aurez la chance de découvrir, ou de
redécouvrir, une belle région de notre pays. N'est-ce
pas assez pour vous inciter à préparer vos bagages?
Notre organisation prévoit des bourses de déplacement
pour nos membres qui nécessiteraient de l'aide pour se
rendre au congrès. N'hésitez pas à demander une
bourse et allez au congrès!
Par ailleurs, la refonte du site Web figure en haut de
notre liste des choses que nous espérons faire cette
année. Nous sommes en train de déterminer les coûts
reliés à une éventuelle refonte du site menée par
Shelagh Linklater et des membres du CRE. D'ici janvier
2011, le conseil en saura plus quant aux options qui
s'offrent à nous. Nous envisageons, comme nous
l'avons mentionné lors de la dernière assemblée
générale, utiliser de l'argent issu du fonds en fiducie de
l'ACCR pour assurer la refonte du site Web.
the practice and practitioners of conservation and
conservation science in this country. When this is ready
to go, members will be contacted via e-mail. We would
urge you to complete the survey and to forward it to
others who may not be members, so that we get as
broad a picture as possible.
Poised on the brink of another winter season, and a
quickly approaching new year, I would like to extend to
all of you, best wishes for peace and joy in the coming
months.
Wendy Baker
Pour terminer, nous vous annonçons que l'ACCR
enverra bientôt un sondage. Cependant, ce sondage ne
sera pas limité aux membres de l'ACCR, mais vu notre
grand nombre, il reflétera clairement l'opinion de nos
membres. Le dernier sondage de ce genre a eu lieu en
1990. Nous avons l'intention de mettre à jour les
données détenues et de recueillir de nouvelles données
qui, nous l'espérons, permettront de dresser le profil
complet de notre pratique et des professionnels de la
restauration et des sciences de la restauration au pays.
Tous les membres seront avisés par courriel quand le
sondage sera prêt. Nous vous invitons à répondre au
sondage et à le faire parvenir à d'autres professionnels
qui ne seraient pas encore membres de l'ACCR, afin
que nous puissions obtenir le portrait le plus juste
possible de notre profession.
À l'aube d'un autre hiver et d'une nouvelle année qui
arrive à grands pas, je voudrais vous souhaiter à tous et
à toutes mes meilleurs vœux de joie et de bonheur.
Wendy Baker
Editors’ Note
The editors of the CAC Bulletin are Charlotte Newton and Janet Wagner. The layout is done by Scott Williams.
The Bulletin is published by the Canadian Association for Conservation of Cultural Property, 207 Bank Street,
Suite 419, Ottawa, ON, Canada K2P 2N2, phone (613) 231-3977, fax (613) 231-4406, http://www.cac-accr.ca.
The deadline for the next Bulletin is February 1, 2011. Send submissions to [email protected], phone
(613) 998-3721, fax (613) 998-4721.
Responsibility for statements made in the articles and letters printed in the Bulletin rests solely with the contributors. The views expressed by individual authors are not necessarily those of the editors or of CAC.
Note de la rédaction
Les rédactrices du Bulletin de l’ACCR sont Charlotte Newton et Janet Wagner. Scott Williams assure la mise
en page. Le Bulletin est publié par l’Association canadienne pour la conservation et restauration des biens
culturels, 207, rue Bank, bureau 419, Ottawa, (ON) Canada K2P 2N2, téléphone (613) 231-3977, télécopieur
(613) 231-4406, http//:www.cac-accr.ca. Les textes soumis pour fins de publication dans le prochain Bulletin
doivent nous parvenir avant le 1er février 2011. Veuillez envoyer vos articles à [email protected],
téléphone (613) 998-3721, télécopieur (613) 998-4721.
La responsabilité concernant les déclarations faites dans les articles et les lettres imprimés dans le Bulletin
revient exclusivement aux auteurs. Les opinions exprimées par les auteurs ne sont pas nécessairement celles de
la rédaction ou de l’ACCR.
3
37th Annual CAC Conference
37e Congrès Annuel de l'ACCR
Winnipeg
Winnipeg
Dates
Dates
The conference will be held from Thursday, May 26 to
Saturday, May 28, 2011. Saturday, May 28 is also the
date of Doors Open Winnipeg, which would be an
interesting option for accompanying persons.
Le congrès se déroulera du jeudi 26 mai au samedi 28
mai 2011. C'est également le 28 mai qu'a lieu
l'événement Winnipeg portes ouvertes, ce qui pourrait
intéresser toute personne qui vous accompagne.
Location
Endroit
The conference venue is the Winnipeg Art Gallery in
downtown Winnipeg, close to hotels, shopping, the
Manitoba Legislative Building and other attractions.
Le congrès se tiendra à la Winnipeg Art Gallery, située
au centre-ville de Winnipeg, à proximité des hôtels, des
magasins, de l'Assemblée législative du Manitoba et
d'autres attraits touristiques.
Workshops
The following workshops will take place before the
conference:
Ateliers
Les ateliers suivants seront offerts avant le congrès :
Advanced Issues in Emergency Preparedness and
Response - two-day workshop May 24-25, in partnership
with CCI.
Questions pointues en matière de préparation et
d'intervention en situation d'urgence - Atelier de deux
jours (24 et 25 mai) en collaboration avec l'ICC.
Printmaking Workshop: Techniques and Conservation- one-day workshop May 25, at Martha Street Studio.
Atelier de gravure - Techniques et conservation Atelier d'un jour (25 mai) offert au Martha Street Studio.
Social Events
Événements à caractère social
Workshop Reception - May 23, Dalnavert Museum
National Historic Site. This historic house in the Queen
Anne Revival style is the restored 1895 home of Sir
Hugh John MacDonald.
Conference Reception - May 25, The Manitoba Museum, , in conjunction with the exhibit Museum 911:
Conservators Protecting our Treasures.
CAPC Meet and Greet- May 26, The Winnipeg Art
Gallery. Sponsored by CAPC.
Banquet- May 27, Fort Gibraltar-reconstructed Northwest Company fort c. 1815, in the historic St. Boniface
area on the banks of the Red River.
Réception pour les participants aux ateliers - Lieu
historique national du Canada Dalnavert (23 mai). Cette
maison historique de style néo-reine-Anne restaurée était
la résidence de Sir Hugh John MacDonald en 1895.
Réception pour les participants au congrès - Musée du
Manitoba (25 mai), en même temps que l'exposition
intitulée Museum 911: Conservators Protecting our
Treasures.
Cocktail de bienvenue de l'ACRP - Winnipeg Art Gallery
(26 mai). Commandité par l'ACRP.
Banquet - Fort Gibraltar (27 mai), fort de la Compagnie
du Nord-Ouest datant d'environ 1815 (reconstruit), situé
dans le secteur historique de Saint-Boniface sur les rives
de la rivière Rouge.
Tours
We plan to offer tours of the Winnipeg's historic Exchange District, a National Historic Site; and a tour of
the Canadian Museum of Human Rights, which will still
be under construction. As well, we are trying to schedule
lab tours.
4
Visites
Nous prévoyons vous offrir la visite guidée du lieu
historique national du Canada du Quartier-de-la-Bourse
de Winnipeg ainsi qu'une visite du Musée canadien des
Accommodations
The Delta Winnipeg is the conference hotel, offering
rates of $137.00/night single or double occupancy for
conference delegates. There are several other hotels in
the downtown area, and the University of Winnipeg
offers rooms in its residence.
Call for Papers
We invite papers on all aspects of conservation including
the preservation of First Nations collections, library and
archival material; works of art; objects; furniture;
archaeological materials; conservation science and digital
media, etc. Posters are also welcome.
Abstract submissions should include the following: the title
of the presentation; the names of all contributors; mailing
address, telephone and fax number, email address of the
contact person and the name of the presenting author.
Abstracts should be between 300 and 500 words and will
be published as part of the conference proceedings. The
deadline for abstracts is Friday, December 17, 2010.
Send abstracts to:
Jasmina Vlaovic, Program Chair
Winnipeg Art Gallery
300 Memorial Blvd.
Winnipeg, MB R3C 1V1
1-204-786-6641 ext. 223
Fax 1-204-788-4998
[email protected]
Please check the CAC website regularly, as more details
and links will be added as we confirm them. We hope to
see you here!
droits de la personne, toujours en construction au moment
du congrès. Nous essayons également d'organiser la
visite de divers laboratoires.
Hébergement
L'hôtel du congrès est le Delta Winnipeg, qui offre des
nuitées pour 137 $ en occupation simple ou double aux
participants du congrès. Il y a bon nombre d'autres hôtels
au centre-ville et l'Université de Winnipeg met à notre
disposition des chambres dans ses résidences.
Appel de présentations
Nous vous invitons à soumettre vos présentations portant
sur tout aspect de la conservation-restauration incluant la
préservation des collections, bibliothèques et documents
d'archives des Premières nations, les œuvres d'art, les
objets, les meubles, les artefacts archéologiques, les
médias numériques et la science de la conservation, etc.
Les affiches sont également les bienvenues.
Les résumés soumis doivent comprendre ce qui suit : titre
de la présentation, noms des collaborateurs, adresse
postale, numéros de téléphone et de télécopieur et
adresse électronique de la personne-ressource et nom du
présentateur. Les résumés doivent faire de 300 à 500
mots et seront publiés dans le cadre des activités du
congrès. La date limite pour nous faire parvenir vos
résumés est le vendredi 17 décembre 2010.
Veuillez faire parvenir vos résumés à :
Jasmina Vlaovic, présidente du programme
Winnipeg Art Gallery
300, boulevard Memorial
Winnipeg (Manitoba) R3C 1V1
1 204 786-6641, poste 223
Téléc. : 1 204 788-4998
[email protected]
Veuillez consulter le site Web de l'ACCR régulièrement,
car de plus amples renseignements et de nouveaux liens
y seront ajoutés à mesure qu'ils seront disponibles. Nous
espérons vous voir au congrès!
5
Membership Renewal
Renouvellement d'adhésion
for January 1, 2011 to December 31, 2011
du 1er janvier 2011 au 31 décembre 2011
May we remind you that your CAC membership fees
are due for renewal on January 1, 2011. Membership
fees for 2011 are:
Nous aimerions vous aviser que vos frais d'adhésion de
l'ACCR doivent être versés le 1er janvier 2011. Les
frais d'adhésion pour 2011 sont :
regular:
institutional:
student:
supporting:
individuel :
institutionnel :
étudiant :
membre bienfaiteur :
$85
$170
$30
more than the applicable category
Non-residents of Canada add $20 (USA) or $30
(outside Canada and the USA) for postage.
85 $
170$
30 $
montant supérieur à la cotisation
pour sa catégorie
Pour les membres résidant à l'extérieur du Canada,
veuillez ajouter le montant suivant afin de couvrir les
frais de poste: États-Unis : 20 $ ; ailleurs : 30 $.
Late fee after February 28, 2011: $10
Frais supplémentaires après le 28 février 2011 : 10 $
6
Supporting Members
Membres bienfaiteurs
I am happy to report that the amount of donations
received from our Supporting Members in 2010 was $
970. This is almost triple the total amount received
the previous year! Thank you again to our 2010
Supporting Members for their generous support of our
Association:
Il me fait grand plaisir de vous informer que le montant
total des dons reçus de nos Membres bienfaiteurs en
2010 est de 970 $. Ce montant est presque 3 fois celui
de l'année précédente! Encore une fois, nous
aimerions remercier nos Membres bienfaiteurs pour
leur soutien généreux à notre Association :
Charlie Costain, Keith Eccles, Amanda Gould, Alan
Grogan, James Hay, Betty Jaquish, Irene Karsten,
Roumen Kirinkov, Crystal Maitland, Mary E. Murphy,
Janice Passafiume, Sherry Phillips, Elizabeth Richards,
Alan Stacey, Kathy Stacey, Rod Stewart, Dee A.
Stubbs-Lee, and Andrew Todd.
Charlie Costain, Keith Eccles, Amanda Gould, Alan
Grogan, James Hay, Betty Jaquish, Irene Karsten,
Roumen Kirinkov, Crystal Maitland, Mary E. Murphy,
Janice Passafiume, Sherry Phillips, Elizabeth Richards,
Alan Stacey, Kathy Stacey, Rod Stewart, Dee A.
Stubbs-Lee, and Andrew Todd.
Call for Nominations
Mise en Candidature
Call for Nominations of Candidates for
the 2011 Election to the Board of
Directors of the Corporation of CAC
Appel aux Mises en Candidature de
Candidats pour l'Élection 2011 des
Membres du Conseil d'Administration de
l'ACCR
The following positions are up for election at the CAC
Annual General Meeting, which will take place during the
2011 CAC Conference, May 26th to 28th, at the
Winnipeg Art Gallery.
President
Vice President
Treasurer
2 Director Positions: 'Bulletin, Directory, Journal and
Nominations' & 'Fund Raising'
Les postes suivants feront l'objet d'une élection lors de
l'assemblée générale annuelle de l'ACCR dans le cadre
du congrès annuel de l'ACCR qui aura lieu du 26 au 28
mai à la Winnipeg Art Gallery.
Président
Vice-président
Trésorier
Deux postes de directeur : " Bulletin, Répertoire,
Journal et candidatures " et " Collecte de fonds ".
Nominations are welcomed for all of these positions; they
can be made and seconded by any voting Member of the
CAC. Full details concerning nomination procedures and
duties of the Board Members to be elected are in the
Directory of Members. Please note that nominations will
continue to be accepted up to the time of the elections at
the A.G.M., except for the Eastern Regional Councillor
position as per the CAC Bylaws.
Nous acceptons les mises en candidature pour tous ces
postes; elles peuvent être faites et secondées par tout
membre votant de l'ACCR. Vous trouverez tous les
détails sur le processus de mise en nomination et les
tâches afférentes aux postes dans le Répertoire des
membres. Veuillez noter que nous accepterons les
candidatures jusqu'au moment des élections lors de
l'assemblée générale, à l'exception du poste de
représentant régional de l'Est, comme le prévoient les
règlements de l'ACCR.
Submit nominations to the CAC office at c/o CAC/
ACCR Nominations, 207 Bank Street, Suite 419, Ottawa,
Ontario K2P 2N2 or electronically to
[email protected].
Veuillez envoyer vos mises en candidature au bureau de
l'ACCR à l'adresse suivante : Candidatures CAC/ACCR
207, rue Bank, Bureau 419
Ottawa (Ontario) K2P 2N2
Vous pouvez également les faire parvenir par courriel à
l'adresse : [email protected].
7
CAC Grants & Awards
Committee
Reminder!
January 31, 2011 is the deadline for receipt of:
• Applications for the 2011 CAC Conference/
Workshop Grants;
• Nominations for the 2011 Charles Mervyn Ruggles
Award;
• Nominations for the 2011 Emerging Conservators
Award.
Last year there were no nominations for the Charles
Mervyn Ruggles Award. This reflects poorly on our
ability to celebrate our professional mentors and
heroes. Please consider submitting a nomination in
2011, recognizing a conservation professional who
made a difference.
January 1, 2011 is the opening date for applications
for the 2011 Training Grants. There is no longer a
deadline for these grants. Applications will be considered on a first come first served basis until Training
Grant funds are expended.
Details and forms are available on the CAC website,
or hard copies can be requested from the CAC office.
Comité des bourses et des
prix de l'ACCR
Rappel!
Le 31 janvier 2011 est la date limite pour la
réception des :
• Demandes pour les bourses liées aux ateliers et au
congrès 2011;
• Mises en nomination pour le Prix Charles Mervyn
Ruggles 2011;
• Mises en nomination pour le Prix du restaurateur
émergent 2011.
L'an dernier, personne n'a été mis en nomination pour
le prix Charles Mervyn Ruggles. Cela donne
malheureusement l'impression que nous sommes
incapables de souligner le travail de nos mentors et
héros. Veuillez songer à mettre en nomination pour
2011 un professionnel de la conservation-restauration
qui a su faire une différence.
C'est à partir du 1er janvier 2011 que nous
accepterons les demandes de bourses de formation
pour 2011. Il n'y a plus de date limite pour la
soumission de ces demandes. Les demandes seront
traitées sur la base du premier arrivé, premier servi
jusqu'à ce que les fonds disponibles pour la formation
soient épuisés.
Pour obtenir tous les détails et télécharger les
formulaires de demandes, consultez le site Web de
l'ACCR. Si vous préférez recevoir des versions
imprimées, communiquez avec le bureau de l'ACCR.
8
Basic Paper Conservation Workshop Report
Vancouver Art Gallery, September 23 and 24, 2010
On September 23 and 24, 2010, conservators of paintings, objects and textiles gathered at the Vancouver Art
Gallery in downtown Vancouver to attend a workshop on
Basic Paper Conservation. This two-day workshop was
developed and presented by Rosaleen Hill, a local paper
conservator in private practice.
Lascaux, Beva, and Lamatec. Hinging techniques and
infills for losses in paper were also discussed. Rosaleen
gave several options for infills, including 'visually filling'
the losses with a digital image on a secondary support.
The day ended with a demonstration of gentle and notso-gentle humidification of tightly curled albumen and
silver gelatin photographs using Rosaleen's traveling
ultrasonic humidification chamber.
Day two of the workshop was mainly devoted to tape
and adhesive removal from paper supports. Beginning
with an overview of the different adhesives and tape
carriers, Rosaleen then discussed using spot tests for
identifying starch and protein in adhesives and lignin in
supports in order to choose the most effective and
appropriate solvent. In this age of heightened concerns
of toxicity, different solvent combos to replace the more
dangerous solvents were also discussed. Rosaleen
proposed a succession of steps to find the most effective
method of removal of unidentified adhesives, moving
from mechanical removal through heat and aqueous
methods and then finally solvents. When aqueous and
solvents proved the most effective route, various methods of introducing the solvents to the tape carrier including Gortex, vapours, poulticing, and using a suction disk.
The workshop was meant to provide conservators
specializing in streams other than paper with the skills to
perform basic paper treatments safely and effectively.
Due to time constraints, Rosaleen used a combination of
lectures, demonstrations and hands-on components to
cover the large amount of material. With each technique,
Rosaleen was careful to note what could go wrong as
well as how to anticipate and avoid problems. Each
participant was given an 18th century book page with
three types of tears and a steel engraving print with
various stains and adhesive tape for hands-on practice of
the techniques that were to be discussed over the two
days. Participants were also provided with a reading list
for further research as well as lecture notes.
Once introductions and pleasantries were complete,
participants were brought up to speed with a brief but
thorough review of paper supports, various media, and
the different techniques used in paper making, printing
and photography. The pros and cons of different dry
cleaning products and methods as well as some effective
techniques were discussed and participants were encouraged to try the materials out on their sample book pages
in preparation for mending. Tears in the book pages
were mended using wheat starch paste and various
cellulose esters while discussing other products such as
Rosaleen demonstrated gentle humidification techniques
using Gortex and Sympatex membranes, and flattening
techniques such as edge tensioning and friction mounts.
This workshop was a great introduction to paper conservation for conservators specializing in different media.
There is a huge interest in these types of professional
development workshops and I would encourage anyone
interested in this workshop or a workshop of this kind to
organize and host one. This workshop was generously
funded by the CAC Training Grant.
9
Kathy Bond, Vancouver Art Gallery
Western Region - Région de l’Ouest
Manitoba
nance Program was given in Regina on behalf of the
Saskatchewan Council for Archives & Archivists.
Archives of Manitoba - Preservation Services
DFHCS continues to represent Conservation Resources
International in Canada. They have established a
Facebook page and a blog at www.tumblr.com .
Several preservation activities are underway. A photo
album from the Department of Public Works and two
HBCA advertisement posters were treated and rehoused. A number of Government Record Ledgers and
Provincial Architects plans were cleaned and re-housed.
Preservation planning activities continue. A Preservation
Management document is near completion. Last year a
survey of the archival storage areas analyzed the existing
storage space and identified storage needs over the next
20 years. A supplementary study was undertaken this
summer of odd size records at the Government Records
Centre to develop more effective shelving strategies.
Work progresses on the scheduled expansion of the
Records Centre and replacement of five AC units in the
main building.
To inform these endeavors, Joanna McMann attended the
courses Storage Strategies for Cultural Collections
presented by Conservation Centre for Art & Historic
Artifacts and Introduction to Managing a Digitization
Program by the Association for Manitoba Archives.
Dalley Froggatt Heritage Conservation Services
Private conservators Jane Dalley and Brad Froggatt
have been steadily occupied with workshops, treatments
and consultations during the past several months. The
summer was taken up with site visits to museums for the
Association of Manitoba Museum's Cultural Stewardship
Program.
DFHCS is part of the design team for the storage space
renovation project at the City of Winnipeg Archives,
located in a former Carnegie library building. Cibinel
Architects has created a proposal that doubles storage
space while respecting the heritage aspects of the
building. DFHCS has provided input on the criteria and
requirements of the storage construction and environment, based on the needs of the archival holdings.
Jane developed and presented two workshops. Mould
Management & Remediation for Heritage Sites was a
Museums Association of Saskatchewan Coaching Program session, given at the Western Development Museum
in North Battleford. Development of a Holdings Mainte10
The Manitoba Museum
In August and September Collections and Conservation
staff had to deal with a water leak in the basement of our
offsite storage building. We had to remove all material mostly artifacts, some specimens and a few non-collections items - as quickly as possible. Having no other
storage facilities, almost everything was simply relocated
to the main floor of the same building. Of course, when I
say simply, it was anything but. Among other things,
shelving had to be disassembled, some of it reassembled
on the main floor; floor space had to be assigned; the
upstairs windows were covered up for security purposes;
and day labourers were hired to haul the heaviest items up
a narrow staircase. We are currently packing and wrapping all collections material in preparation for moving to a
new offsite storage building, the location and date of which
are still uncertain. Some artifacts were identified as having
surface mould and active corrosion from the high humidity;
these are being prioritized and treated.
We have lost one volunteer from the lab. Carolyn Sirett left
in August to begin the Collections Conservation and Management course at Fleming College. But, in September
another volunteer started. Liz Richens volunteered in the lab
ten years ago, and has come back to us after university,
marriage and work. We always appreciate the help.
Alberta
University of Lethbridge Art Gallery
The University of Lethbridge Art Gallery hosted a three
day open house in October to coincide with the installation of the new University President. The open house's
main feature was the conservation project which had
recently received funding from a MAP grant. The
gallery's graphic designer, Dan Wong, took photos that
Miranda Grol and I had taken during treatments, i.e. a
close-up of a hand using a tool to remove adhesive, for
example, and turned them into posters advertising the
open house which were used to advertise on the website
and around the university and the community. As well,
we took the opportunity to turn some of our treatment
photos into didactic panels for display describing the
different preventive and treatment work we are able to
complete. During the week of the open house, the gallery
hosted a meeting of the Southern Alberta Museums
Association to give members an opportunity to see
behind the scenes; other visitors included students,
professors, a class of new media students, and people
from the community.
Juliet Graham
Glenbow Museum
The Glenbow Museum was sad to see Claude Belleau
return to Quebec this summer, but we are happy to
welcome Priyanka Vaid as our new Paintings and
Sculpture conservator. Priyanka will be helping with the
deinstallation and condition reporting of the Botero exhibit
this November and will be looking to start a condition
survey of our artworks in storage. Lee Churchill has
been busy with loans and the condition reporting of a
recently installed exhibit. Heather Dumka is preparing
Cree artifacts for a digitization project after finishing an
earlier digitization project of Salish artifacts. Our
Fleming intern, Jennifer Bowser, is busy on a number of
projects including dusting artifacts on exhibit, assisting
with Pest Control and making storage mounts for clubs,
pipes and rattles in our Indigenous Studies Collection, and
swords and chainmail in our MilitaryHistory collection.
Heather Dumka
British Columbia
Fraser Spafford Ricci Art & Archival
Conservation
FSR is very happy to welcome Emily Min to the small
staff as Paintings Conservator, taking the place of
Christine Foster who is currently on maternity leave.
Congratulations go to Chris who had a beautiful baby
boy, Devan, in July. The summer and fall saw numerous
conservation treatments, involving primarily removal of
dirt, discoloured varnish and minor restoration, on
Canadian historic works by artists such as Arthur
Lismer, J.E.H. MacDonald, Maurice Cullen, AY Jackson, Lawren Harris and Franklin Carmichael. Modern
paintings by Jean Paul Riopelle and Paul-Émile
Borduas, were also treated, both requiring cleaning to
remove dirt/grime, and minor consolidation (both wax/
resin and BEVA 371 were used, depending on the type
of cleavage). Works by Emily Carr and Frank Johnston,
both with supports of paper laid on paperboard, received treatment that involved small amounts of infilling
and inpainting using watercolour. A fill suitable for a
paperboard was devised utilizing a methylcellulose/
water solution, cellulose powder and calcium carbonate.
Currently, the paintings conservators are working on a
project that is a first for the lab - paintings sprayed by a
skunk. The contemporary paintings in various media
were deodorized by a restoration company (prior to and
independent of the lab's work) using a hydroxyl system
that appeared to be very effective at removing the
smell. Research in the FSR lab revealed that an oxidizing agent is required to break down skunk odour
molecules. So, remnant smell and the skunk spray
accretions have been successfully removed in our lab
using a mixture of 1% hydrogen peroxide and 2%
Orvus in water, with a water rinse on swabs.
Annually, the lab donates a conservation treatment to a
Canadian veteran's collection. This year, FSR cleaned
and repaired a Battallion flag of the Regina Rifles held by
the Saskatchewan Militia Museum in time for the
Remembrance day ceremonies.
Tara Fraser, Principal Conservator of Paper, has taken a
long term leave but comes back into the lab occasionally
to manage and work with FSR's large archival paper
projects. Work has been proceeding on stabilization and
storage preparation of King County (WA) maps from the
two departments of Transportation and Natural Resources. Maps and drawings of the important Snoqualmie
Falls Power Plant (Puget Sound Energy of Washington
State) are receiving a detailed inventory linking the
documents to digital images and to historic data, and are
then being prepared for long-term archival storage.
Paola Merkins, Conservation Technician, has been doing
the bulk of the work on this collections management/
conservation project. The lab conserved, matted and
framed a collection of 13 pastel portraits of First Nations
people by artist Maisie Hurley for exhibition by the North
Vancouver Museum & Archives.
Sarah Spafford-Ricci, Principal Conservator
UBC Museum of Anthropology
Heidi Swierenga is currently on maternity leave but she
is scheduled to return to her post as Head of MOA
conservation in the summer of 2011. Shabnam
Honarbakhsh has taken on the full-time leave replacement position in conservation. Mauray Toutloff returned
to MOA conservation at 60% time in July 2010.
11
Emily Higginson, a student of the Collections Conservation and Management Program at Fleming College joined
the MOA conservation/collections team in September
2010. Emily will be implementing the works on paper rehousing project and she will also be creating a collections
care manual for the Squamish -Lillooet Cultural center in
Whistler, BC.
This fall conservation staff was busy with the de-installation of Border Zones: New Art Across Culture as well as
the outdoor totem pole maintenance schedule. It has been
almost a year since the grand re-opening in January of
2010, and we are preparing to start the textile rotation for
the permanent exhibits in the Multiversity Gallery.
We have recently finished the installation of Man Ray:
African Art and the Modernist Lens and we are now
preparing for Signed without Signature: Works by
Charles and Isabella Edenshaw, an exhibit which
opens November 26, 2010. Carl Schlichting took time
from his busy schedule to stop by MOA. He made some
exhibit mounts and also provided technical support to the
MOA conservation, collections and design departments.
Mauray Toutloff
Vancouver Art Gallery
VAG Conservators Monica Smith and Kathy Bond had a
busy summer and fall this year. Apart from the usual
gallery conservation activities, we were fortunate to host
two summer students: Tasia Bulger and Katie Marshall.
Tasia came to us from the Queen's Art Conservation
Program as a first year intern in paintings conservation.
For 12 weeks Tasia focused on the preventative and
restorative treatments of contemporary art works. One
of her main projects involved assisting in the surface
cleaning of an oversized, colour-field painting by Guido
Molinari (9' x 12'). Due to its very large size this painting
could not fit into the conservation lab and was cleaned in
the gallery on public display. This generated much
interest with our gallery patrons who came specifically to
see the treatment progress. The project was successful
and Tasia did an excellent job of promoting conservation
with the public. Tasia is back at Queen's completing her
second year of the MAC program
Our other student, Katie Marshall, came to the Gallery
with funding from a Canadian Heritage Young Canada
Works grant. From early June to the end of August,
Katie diligently worked to reorganize and rehouse over
1000 unmatted photographs from the Gallery's permanent
collection. Katie used acid-free card stock to construct
simple folios for the unmatted works and rehoused them
12
in the new folios. As she worked, Katie also completed
work for the Registration department, reviewing the
catalogue information for each work and updating the
data as required. It was immensely satisfying for Katie
and for Gallery staff to see her progress as, one-by-one,
each solander box of unmatted photographs was upgraded and the data cleaned up. Today, the task of
locating the unmatted photographs has been made almost
effortless and significantly reduced the need for handling.
Katie has now entered the Master of Library Sciences
Program at Dalhousie University in Halifax.
The lab highlight for October was that we hosted a paper
conservation workshop given by Rosaleen Hill. The
workshop was organized by Kathy Bond and funded by a
grant from the CAC. The workshop proved to be a
great success and we look forward to hosting and
organizing similar workshops in the future.
Monica Smith
Northwest Territories
Prince of Wales Northern Heritage Centre
During the last year, Eli Purchase, a graduate of the
University of Alberta with an MSc in the Preventive
Conservation of Museum Artefacts, has been working at
the Prince of Wales Northern Heritage Centre
(PWNHC) as a Conservation Intern.
In September Eli attended the CCI workshop, Emergency Planning and Disaster Preparedness for
Cultural Institutions, hosted by the Alberta Archives
Association in Red Deer, Alberta. Eli is updating the
Prince of Wales Northern Heritage Centre's Emergency
Response Plan as part of his work experience. The plan
has been reformatted and a presentation with hands-on
training for staff has been set for early in the new year.
In October the Conservator, Rosalie Scott and Intern, Eli
Purchase travelled to the community of Colville Lake,
NWT, in order to pack a collection of newly acquired
artefacts for the PWNHC museum collection. Colville
Lake is a small fly-in community of 147 people. It is
located just north-west of Great Bear Lake. The artifacts
were acquired from the private museum/art gallery
created by Bern Will Brown in the 1960s. The photo is of
Our Lady of the Snows, a unique log church with the
museum in the background.
The Conservation Section is also preparing to host the
CCI workshop Packing and Shipping of Cultural
Property in November. We have a wide range of
participants attending from private art companies,
heritage organizations to individual artists.
Rosalie Scott participated in a meeting with heritage
organizations in Hay River NWT in October in which the
NWT museum/heritage association was founded. This
new organization will promote and encourage communication and co-operation among the historical, heritage
and cultural groups and organizations in the NWT.
Part of the PWNHC mandate is to assist other community museums and heritage organizations in the NWT and
in December, members of the Conservation Section will
be visiting the Northern Life Museum in Fort Smith,
NWT. Staff will be working with the Curator to address
storage concerns of the Northern Life Museum's oversized watercraft and artwork. Additionally we will be
assisting the Northern Life Museum staff with their
Emergency Response Plan.
13
Eastern Region - Région de l’Est
Quebec
Centre de conservation du Québec
Il y a beaucoup de mouvement de personnel au CCQ
cette année : quelques personnes ont pris leur retraite et
plusieurs autres se sont jointes à l'équipe, que ce soit de
façon permanente ou temporaire. Nous souhaitons
bonne retraite à Susanne-Marie Holm et à Denise Allard,
de l'atelier œuvres sur papier, à Jérôme-René Morissette,
de l'atelier métal-pierre, ainsi qu'à Sharon Little, de
l'atelier textiles.
Des postes permanents ont été octroyés à plusieurs
restauratrices déjà en poste dont le statut était occasionnel
: Louise Lalonger, de l'atelier textiles, Blandine Daux, de
l'atelier archéologie-ethnologie, Sophie Roberge, Éloïse
Paquette et Rachel Benjamin de l'atelier peintures, Mireille
Brulotte de l'atelier mobilier, Delphine Laureau et Isabelle
Cloutier de l'atelier sculptures, Martine Lemay et Francine
Gauthier, de l'atelier œuvres sur papier, ainsi qu'Isabelle
Paradis de l'atelier métal-pierre.
Quelques membres de l'équipe avec un statut
occasionnel sont également sur liste d'attente pour
l'obtention d'un poste permanent : Ariane Lalande de
l'atelier archéologie-ethnologie, ainsi que Stéphanie
Gagné et Myriam Lavoie de l'atelier sculptures.
Les personnes suivantes se sont jointes à l'équipe, pour
des périodes plus ou moins longues, au courant de
l'année: Jane Dosman, Marie Trottier, Patricia Bufe et
Christophe Vischi dans l'atelier œuvres sur papier, MarieCatherine Cyr dans l'atelier peintures, Monique Benoit,
Stéphane Langlois et Mathieu Carpentier dans l'atelier
métal-pierre, Nicole Charley, Rachel Dessaints et
France-Éliane Dumais, dans l'atelier textiles, MarieChantal Poisson dans l'atelier des sculptures, Jean Dendy
dans l'atelier archéologie-ethnologie, Sylviane Gaume
dans les deux atelier suivants : peintures et papier, ainsi
que Patrick Quirion dans les deux ateliers suivants :
métal-pierre et mobilier.
Atelier peinture
Un très grand format appartenant aux Religieuses
Hospitalières de Saint-Joseph de Montréal a été traité
par Éloïse Paquette, qui lui a consacré son année. Ce
tableau, qui était très endommagé, représente une Sainte
14
Famille; il date du début du 18e siècle et provient
d'Europe. Il est maintenant de retour chez les sœurs.
En août 2009, Michael O'Malley et Éloïse Paquette ont
restauré in situ 4 tableaux de Charles Huot dans l'église de
Carleton-sur-mer, en Gaspésie. Deux autres grands
formats de la ville sont présentement en restauration à
l'atelier : le tableau du maître-autel, un Antoine Plamondon
datant de 1852, représentant la Mort de Saint Joseph, est
présentement restauré par Colette Naud. Élisabeth Forest
et Marie-Catherine Cyr restaurent un Jésus Ouvrier
d'Elmina Lefebvre appartenant à la chapelle du mont
Saint-Joseph de Carleton.
Sophie Roberge était en congé de maternité cette année;
elle est de retour parmi nous depuis fin septembre. Nous
en profitons pour la féliciter pour sa magnifique petite
fille, Zélie.
Rachel Benjamin travaille un jour par semaine à la
réserve muséale du Musée de la civilisation du Québec,
en tant que restauratrice des collections.
L'atelier a reçu deux stagiaires : Pauline Ruiz et Orane
Polis, toutes deux étudiantes de la MST de Paris. Orane
Polis a fait des tests très intéressants pour des doublages
transparents, qui ont servi par la suite à doubler un tableau
comportant une inscription, restauré par Rachel Benjamin.
Pauline a traité une œuvre contemporaine à l'encaustique
et écrit son mémoire sur des essais de masticages à
l'Aquazol, réalisé entre autre pour cette œuvre.
Atelier de textiles
L'atelier des textiles a répondu aux demandes du Musée
des Ursulines de Québec qui prépare une nouvelle
exposition sur l'éducation des jeunes filles aux Ursulines
de Québec depuis 370 ans. Pour l'occasion, nous avons
revu les conditions de conservation d'œuvres réalisées
par les élèves. C'est ainsi que nous avons traité quatre
broderies du début du 19e siècle faites de fils de soie, de
chenille de velours et de fonds peints à l'aquarelle ou à
l'encre de chine. De même, nous avons nettoyé de petits
vêtements miniatures réalisés dans les cours de couture à
la fin du 19e siècle et deux carreaux à dentelle du début
du 20e siècle.
Cette année, le hasard nous a permis de restaurer deux
drapeaux, de collections différentes, mais dont l'histoire
les rapproche. Il s'agit de deux drapeaux du Québec
offerts en 1950 par un ancien Premier ministre du
Québec, Maurice Duplessis, pour deux régiments
militaires qui partaient pour la guerre de Corée. Un
premier a été remis au 22e Régiment à Québec alors que
le deuxième a été remis aux Fusiliers Mont-Royal à
Montréal. Les deux drapeaux de soie très effrités ont été
consolidés et montés sur des supports rigides. Comme
une section de la frange métallique d'un drapeau était
manquante, elle a été complétée par une reproduction
photographique d'une section en bon état. L'effet visuel
est à s'y méprendre!
Parallèlement aux projets de restauration textiles, Louise
Lalonger travaille en collaboration avec France Rémillard
de l'atelier ethno-archéo à des expertises en conservation
préventive. C'est ainsi qu'un projet pilote a été amorcé
dans la région de la Montérégie. Quatre institutions ont
été visitées : le Musée de Missisquoi, le Musée du HautRichelieu, le Complexe archéologique de Pointe-duBuisson et le Musée des beaux-arts de Mont-SaintHilaire. Pour chaque institution, les restauratrices ont
rédigé des rapports sur les conditions de conservation et
fait des propositions à court, à moyen et à long terme.
Atelier archéologie-ethnologie
L'atelier accueille depuis juillet Laure Manchiline,
stagiaire de l'Université de Paris 1 - Panthéon-Sorbonne
et recevra trois autres stagiaires d'ici l'an prochain.
Blandine Daux, Ariane Lalande et André Bergeron
continuent de plancher sur le dégagement des objets pris
en concrétion issus de la fouille de l'Anse-aux-Bouleaux.
De ces fouilles fines en laboratoire sont issus un rapport
d'étape et quelques belles trouvailles dont des éléments
de mousquet, des fusils un cadenas et une serrure.
Ariane Lalande et Blandine Daux travaillent aussi
activement sur les dossiers archéologiques de la Ville de
Québec, particulièrement sur les sites de CartierRoberval, de la Maison des Jésuites, du Palais de
l'Intendant et de la Maison Blanche.
Blandine a produit un article sur la restauration d'une
harpe, pour la revue Continuité.
Le musée de la civilisation et le Musée national des
beaux-arts étant à planifier l'agrandissement de la
Réserve de la capitale nationale et France Rémillard les
assiste dans cet exercice. Dans ce cadre les musées
recevront Jean Tétreault et Paul Marcon pour une table
ronde sur le climat attendu pour ce nouveau lieu.
André Bergeron a fait une présentation au colloque du
Wet Organic Archeological Material, sur le traitement
des embarcations en bois gorgé d'eau trouvées sous le
Musée de la civilisation en 1984 et 85.
Atelier sculpture
Avec ses huit professionnels, l'atelier de sculpture du
CCQ est en pleine ébullition!
Plusieurs objets religieux ont été restaurés cette année
pour l'ouverture prochaine du Musée des Ursulines de
Québec. Un travail de longue haleine sur un reliquaire
du 18e siècle sera bientôt achevé et cette œuvre sera
exposée prochainement dans les nouvelles salles
canadiennes du Musée des beaux-arts de Montréal.
L'atelier est très actif dans le domaine de l'art public: de
nombreuses expertises ont été effectuées sur les œuvres
publiques, des formations ont été données sur leur
conservation et celles des œuvres patrimoniales comme
les croix de chemins, et des textes sont en cours de
rédaction pour bonifier le Guide pour la conservation des
œuvres d'art public.
Les interventions sur les œuvres du Métro de Montréal
appartenant à la STM se poursuivent toujours.
Plusieurs œuvres contemporaines du Musée d'art
contemporain de Montréal sont en cours de restauration
dans nos locaux.
Parcs Canada
Le service de conservation-restauration du Centre de
service du Québec de Parcs Canada (CSQ) participe à
de nombreux projets d'envergure générés par le Plan
d'action économique du gouvernement du Canada visant
les infrastructures fédérales. À la Grosse-île nous
restaurons le mobilier de la chapelle catholique, mobilier
au sens large, puisque nous avons traité la ferronnerie et
les luminaires en place dans la chapelle. Après avoir
traité les encadrements du chemin de croix, nous
travaillons présentement sur les statuts en plâtre et les
accessoires liturgiques. Nous interviendrons cet automne
de la même façon pour une partie du mobilier de l'Hôtel
de première classe (mobilier, luminaire, manteaux de
foyers, etc.). Le projet du Fort numéro Un est presque
achevé. Il s'agit de recréer un mess des officiers qui
pourra servir de salle de réception. À cette fin nous
avons réalisé plusieurs reproductions, tables, chaises,
manteau de foyer, à quoi viendra possiblement s'ajouter
un vaisselier militaire. La réfection du monument Wolfe15
Montcalm nous a permis d'effectuer des traitements de
consolidation et de comblement des plaques
commémoratives en marbre qui ont été déposées cet été.
Nous avons aussi traité les pièces de monnaies de la
capsule temporelle datant de 1828, trouvée dans ce
monument. Une seconde capsule contenant des documents papier et du textile a été envoyée à nos collègues
du Centre de services de l'Ontario. Enfin, nous sommes
heureux d'avoir collaboré à la réalisation d'une nouvelle
exposition à la Maison Dolbel dans le Parcs Forrillon.
Si ces interventions à haute visibilité nous ont grandement
occupés, elles ne nous empêchent pas de continuer notre
travail de stabilisation des objets de notre collection, d'une
part dans le but de préserver les artefacts (pensons
principalement aux artefacts ferreux) et d'autre part à
consolider les objets en vue de leur déplacement lors du
déménagement, tout en répondant aux demandes des
LHN de notre territoire. Parlant déménagement, depuis
l'annulation de l'appel d'offre visant à faire aménager un
espace locatif adapté à nos besoins et à ceux de notre
collection, tout peut être envisagé. Nous sommes dans
l'attente de voir quels nouveaux défis nous serons
appelés à relever. Aurons-nous encore la chance de
prendre soin de ces objets et artefacts à Québec? Nous
espérons les meilleures conditions pour le déménagement
temporaire qui s'impose à la collection sachant que nous
devons quitter les lieux que nous occupons présentement
avant novembre 2011 pour cause de déconstruction de la
Gare Maritime. Nous sommes tout de même heureux de
savoir que la collection restera dans la région de Québec.
L'équipe des conservateurs-restaurateurs du CSQ
Quebec
Centre de conservation du Québec
Several staff members with a temporary position are on
the waiting list for a permanent position: Ariane Lalande
from the Archaeological-Ethnological lab; Stéphanie
Gagné and Myriam Lavoie from the Sculpture lab.
The following persons joined the team during this year,
for shorter or longer periods : Jane Dosman, Marie
Trottier, Patricia Bufe and Christophe Vischi in the Paper
lab; Marie-Catherine Cyr in the Paintings lab; Monique
Benoit, Stéphane Langlois and Mathieu Carpentier in the
Metal-Stone lab; Nicole Charley, Rachel Dessaints and
France-Éliane Dumais, in the Textile lab; Marie-Chantal
Poisson in the Sculpture lab; Jean Dendy in the Archaeological-Ethnological lab; Sylviane Gaume in the Paintings
and also Paper labs; and finally Patrick Quirion in the
Metal-Stone and Furniture labs.
Paintings lab
A very large format painting belonging to the Religieuses
Hospitalières de Saint-Joseph from Montréal was
restored by Éloïse Paquette. She worked on this painting
for the entire year. This very damaged painting representing the Holy Family dates from the 18th century and
is from Europe. It has now been returned to the sisters'
congregation.
In August 2009, Michael O'Malley and Éloïse Paquette
restored in situ four Charles Huot paintings in the church
of Carleton-sur-mer, in Gaspésie. Two others large
paintings from this town are presently being restored in
the lab: the main altar painting, an Antoine Plamondon
dating from 1852, representing the Death of Saint, is
being restored by Colette Naud. Élisabeth Forest and
Marie-Catherine Cyr are restoring a Jésus Ouvrier by
Elmina Lefebvre belonging to the Mount Saint-Joseph
chapel of Carleton.
There have been many staff changes at the CCQ during
the past year: some people have retired and several others
have joined the team, with either permanent or temporary
positions. We wish good luck in their retirement to
Susanne-Marie Holm and Denise Allard, from the Paper
lab, to Jérôme-René Morissette, from the Metal-Stone lab
and to Sharon Little from the Textiles lab.
Sophie Roberge was on maternity leave this year. She is
back with us since September. We congratulate her for
her beautiful daughter, Zélie.
Permanent positions were given to several conservators
who had temporary positions: Louise Lalonger, from the
Textile lab; Blandine Daux, from the ArchaeologicalEthnological lab; Sophie Roberge, Éloïse Paquette and
Rachel Benjamin from the Paintings lab; Mireille Brulotte
from the Furniture lab; Delphine Laureau and Isabelle
Cloutier from the Sculpture lab; Martine Lemay and
Francine Gauthier, from the Paper lab, and finally
Isabelle Paradis from the Metal-Stone lab.
The lab hosted two interns this year: Pauline Ruiz and
Orane Polis, both from the MST in Paris. Orane Polis
undertook transparent lining tests, which were then used
by Rachel Benjamin to line a painting with an inscription
on the reverse. Pauline treated a contemporary
encaustic painting and wrote her thesis on Aquazol
fillings, which she had used on the painting.
16
Rachel Benjamin is working one day a week at the
storage vaults of the Musée de la civilisation du Québec,
as the collections conservator.
Textiles Lab
The Textiles lab has responded to the needs of the
Ursuline Museum of Quebec who are preparing a new
exhibit surrounding the past 370 years of girls' education
at the Ursuline convent of Quebec. For the occasion we
evaluated the condition of various works created at the
time by the young scholars. Following this, we have
treated four embroideries made of silk threads, chenille
velvet and backgrounds painted with watercolour and/or
inks dating from the beginning of the 19th century. In
addition we have cleaned a set of miniature garments
that had been made in sewing classes at the end of the
19th century, as well as two lace boxes dating from the
early 20th century.
This year we have restored two flags, from two different
collections, that share similar histories. Indeed, they are
both Quebec flags that had been offered in 1950 by
Maurice Duplessis, the Premier of Quebec at the time, to
military regiments about to leave for the Korean War. The
first one was given to the 22nd Regiment of Quebec City,
while the other had been given to the Mont-Royal Fusiliers
of Montreal. Both of these worn and shredded silk flags
were consolidated before being mounted on rigid supports.
Also, as a section of the metallic fringes of one of the flags
was missing, it was completed with a photographic
reproduction taken from a section that was in good
condition; the final visual effect was quite outstanding!
Other than textile conservation/restoration projects,
Louise Lalonger also works in collaboration with France
Rémillard, of the ethno-archaeological lab, on preventive
conservation consultation. From this has stemmed a pilot
project in the Montérégie region. Four institutions have
been visited: the Missisquoi Museum, the Haut-Richelieu
Museum, the Archaeological Complex of Pointe-duBuisson, and the Fine Arts Museum of Mont-SaintHilaire. For each institution, the conservators have
written condition reports and have made short, medium,
and long term proposals.
The lab is very active in the field of public art: many
evaluations have been done on public artworks. Training
sessions have been given on the conservation of public art
and heritage objects. Texts are also currently being written
for the online guide on the conservation of public art.
Interventions on the many public artworks in the
Montreal subway, belonging to the STM, are still ongoing.
Several conservation treatments of contemporary
artworks from the Musée d'art contemporain are also
underway.
Archaeology-Ethnology lab
The lab welcomes Laure Manchiline, an intern from the
Université de Paris 1 Panthéon - Sorbonne, and will
receive three more interns during the coming year.
Blandine Daux, Ariane Lalande and André Bergeron
continue to work on the delicate excavation of concretions from the Elizabeth and Mary shipwreck. Based on
these interventions, an annual report has been written.
Some interesting new discoveries have been made, such
as finding the parts of a firearm, guns, a lock and a
padlock.
Ariane and Blandine are also working on the objects
found in the Ville de Quebec's sites, Cartier-Roberval,
Maison des Jésuites, Palais de l'Intendant and Maison
Blanche.
Blandine wrote an article on the conservation of a harp,
made by J. A. Stumpff, for the magazine Continuité.
The Musée de la civilisation and the Musée national des
beaux arts du Québec are planning to enlarge the
Réserve de la Capitale nationale, and France Rémillard is
assisting them in this task. These museums will also
benefit from the assistance of Jean Tetreault and Paul
Marcon to discuss the expected environmental climate
for the new reserve.
Sculpture lab
With its eight conservators, the sculpture lab is thriving
and growing!
André gave a presentation during the Wet Organic
Archaeological Materials conference, a review on the
treatments of the wooden waterlogged boats found under
the Musée de la civilisation in 1984 and 1985.
Several religious objects were treated this year for the
upcoming opening of the Quebec Ursulines Museum. A
long term treatment on an 18th century reliquary will
soon be completed and will be exhibited in the new
Canadian wing of the Montreal Museum of Fine Arts.
Parks Canada
The conservation service of Parks Canada, Quebec
Service Centre (QSC), is currently involved in several
sizeable projects launched by the Economic Action Plan
17
for federal infrastructures of the government of Canada.
At Grosse Île (Grosse Île and the Irish Memorial National Historic Site), we are conserving the Catholic
chapel's furniture, along with the architectural hardware
and the lighting fixtures. Having completed the treatment
of the Stations of the Cross, we are now conserving the
plaster statues and the liturgical accessories of the
chapel. During the coming fall, we will also conserve the
1st class hotel's furniture (furniture, architectural fixtures,
mantel piece, etc). The Lévis Fort No. 1 project (Lévis
Forts NHS), which consists in recreating an officer's
mess, is almost completed. This project necessitated the
reproduction of several items, including chairs, tables, and
a mantelpiece. The reproduction of a military sideboard
will be soon undertaken. Although there had never been
an officer's mess at the Fort No. 1, this creation will host
social events and help to diversify the range of activities
held at this site. The rebuilding of the Wolfe-Montcalm
monument (Saint-Louis Forts and Châteaux NHS)
brought to our lab two marble memorial plaques that
needed cleaning, consolidation and filling. We also treated
the coins found in the monument's time capsule dating
from 1828. A later capsule containing papers and textiles
was also found and sent to our colleagues of the Ontario
Service Centre (OSC). Finally, we participated in setting
up a new exhibition for the Dolbel House (Forillon
National Park).
Even though these highly visible projects are keeping us
very busy, we continue to carry out numerous treatments
on our collections, partly to prevent further degradation
of the artefacts (namely, archaeological iron objects),
partly to consolidate fragile objects in anticipation of
moving our collections. About this forthcoming relocation,
since the invitation to tender on a new building for our
collections and our laboratories was cancelled, everything
is on the table. We are now waiting to learn about the
new challenges we will have to meet. Will we have the
chance to keep on working on these artefacts in Québec
City? Considering that we have to leave before November 2011 because of the deconstruction of the Champlain
Harbour Station, we are hoping that the best conditions
will be met for a temporary location that still needs to be
found for the collection. We are nonetheless glad to
know that the collection will remain in the area of
Québec City.
18
Conferences and Training - Congrès et formation
Impact: redefining the measurement of collection care
Pigments and the Polarising Microscope Course
Preservation Advisory Centre conference
London UK
February 15, 2011
Somerset, UK
May 9-13, 2011
For more information visit <URL:http://www.bl.uk/blpac/
impact.html>
Care and Identification of Photographs
San Juan, Puerto Rico
February 22-25, 2011
For further information visit <URL:http://
www.academicprojects.co.uk>
AIC 39th Annual Meeting
Philadelphia PA
May 31 - June 3, 2011
For more information visit www.conservation-us.org
For information visit: <URL:http://gawainweaver.com/
workshop/care-id-photos-2011-sanjuan/>
Climate Control for Historic Buildings and Collections
APT DC Annual Symposium
Washington DC
March 24-25, 2011
For more information visit <URL:http://
www.washingtonconservationguild.org>
Wall paintings exposed to outdoor weathering:
A conservation challenge at the World Heritage site
Constantine Basilica in Trier
Trier, Germany
April 7 - 9, 2011
For further information visit <URL:http://
www.hornemann-institut.de/english/1511.php>
The Science of Objects and Collections
London, UK
April 11, 2011
For further information please contact Teresa Harrington
[email protected]
Conference organiser: Dr Barry Knight, Head of Conservation Research, The British Library, 96 Euston
Road, London NW1 2 DB
The Sticking Point: Adhesives and Consolidants in
Paintings Conservation
London, UK
May 6, 2011
Icon Paintings Group conference. For more information
visit www.icon.org.uk
Preserving Endangered Audio Media - Rethinking
Archival Strategies for Conservation of Analogue
Audio Carrier
Berlin, Germany
June 9-10, 2011
For more information visit
<URL:http://www.smb.museum> or
<URL:http://www.facebook.com/
staatlichemuseenzuberlin>
or contact
Eveline Weilert [email protected]
+49 30 326719 Fax: +49 30 32674912
Workshop and Symposium on Cultural Property
Risk Analysis
Lisbon
September 14-16, 2011
For more information visit<URL:http://
protectheritage.com/Lisbon2011>
AICCM National Conference
Canberra
October 19-21, 2011
For further information visit www.aiccm.org.au
Future Talks 011
Technology and Conservation of Modern Materials
in Design
Munich, Germany.
October 26-28, 2011
For more information visit
<URL:http://www.die-neue-sammlung.de/event>
19
Ten Reasons Why You
Should Join CAPC
Dix raisons de devenir
membre de l’ACRP
Conservators frequently ask why they should join CAPC
and what are the possible benefits of the accreditation
process. In response, the CAPC Board has assembled
ten answers to the question "Why should I join CAPC?"
Des restaurateurs demandent souvent pourquoi ils
devraient joindre l'ACRP et quels sont les avantages de
l'accréditation. Le conseil d'administration vous propose
dix réponses à ces questions.
Your Business
Votre entreprise
1. The CAPC online directory is a source for new
clients seeking private sector conservators.
2. CAPC accreditation is a requirement for some
institutional positions and for bidding on large-scale
government tenders.
3. Museums and related institutions are more likely to
refer potential clients to accredited conservators.
4. CAPC accreditation assures clients that high standards of practice are maintained within the profession
and helps to protect cultural property from unqualified
interventions.
5. CAPC Membership dues are tax deductible.
1. L’annuaire en ligne est une source de référence pour
des nouveaux clients qui recherchent un restaurateur
dans le secteur privé.
2. L’accréditation de l’ACRP est une exigence pour un
poste dans certaines institutions et pour soumissionner
sur des appels d’offres gouvernementaux à grande
échelle.
3. Les musées et autres institutions connexes sont plus
susceptibles à recommander des restaurateurs
accrédités à des clients éventuels.
4. Pour les clients, l’accréditation de l’ACRP est
l’assurance d’un haut niveau de compétence et aide a
protéger les biens culturels contre des interventions
maladroites.
5. Les frais annuels d’adhésion sont déductibles d’impôt.
Your Professional Status
6. Accreditation confers recognized professional status
to conservators and conservation scientists in both
private and institutional practice.
7. Accreditation gives conservators with diverse forms
of training a recognized professional standing.
8. Accreditation offers a sense of pride and achievement gained from peer recognition of one’s professional abilities.
The Conservation Profession
9. Accreditation raises the profile and the credibility of
the profession and fosters a deeper commitment to
the development of conservation in Canada.
10. Accreditation status is recognized by the Canadian
Association for Conservation of Cultural Property.
20
Votre statut professionnel
6. L’accréditation de l’ACRP confère un statut
professionnel reconnu aux restaurateurs et aux
scientifiques en conservation, autant dans le milieu
privé qu’en institution.
7. L’accréditation permet aux restaurateurs provenant
de diverses formations d’obtenir un statut
professionnel.
8. La reconnaissance de sa compétence par des pairs
est source de fierté et de satisfaction.
La profession de restaurateur
9. L’accréditation rehausse le niveau et la crédibilité de
la profession et favorise son développement à
l’échelle canadienne.
10.L’accréditation de l’ACRP est reconnue par
l’Association canadienne pour la conservation et la
restauration.
MAKE US A LOGO
One of our many assets as conservators is our creativity. The CAPC has an
opportunity for you to show off your creative side and save yourself a bit of money
in the process. Can you design an interesting and elegant logo for the CAPC?
This challenge is open to both CAPC members and non-members. If your design
is the successful one, you will receive one year’s free membership in the CAPC. If
you are not yet a member, the cost of your CAPC membership application will be
waived. The deadline for design submissions is March 31, 2011 and the winner
will be announced at the CAC conference in May. Please submit your design
together with your name and contact information to
Greg Hill <[email protected]>.
CONCEPTION D’UN LOGO POUR L’ACRP
L’une des nombreuses caractéristiques des restaurateurs-conservateurs est sans
aucun doute leur créativité. L’ACRP vous offre la possibilité de dévoiler votre
côté créatif et de réaliser du même coup quelques économies: pouvez-vous
concevoir un logo à la fois attrayant et élégant pour l’ACRP ?
Le concours est ouvert aux membres de l’ACRP tout comme aux personnes qui
n’en sont pas membres. Si votre proposition de logo est retenue, vous recevrez
en prix une année d’adhésion gratuite à l’ACRP; si vous n’êtes pas encore
membre, vous n’aurez pas à assumer les frais liés à la demande d’adhésion à
l’ACRP. La date d’échéance pour la soumission des projets est le 31 mars 2011
et le nom du gagnant (ou de la gagnante) sera dévoilé en mai, lors de la tenue de
la conférence de l’ACCR. Veuillez remettre votre projet de logo, de même que
votre nom et vos coordonnées, à Greg Hill: [email protected]
21

Dec 2010 CAC Bulletin col.p65 - Canadian Association for

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