COLLECTIONS CARE INTERN | Pennypacker Mills Historic House Museum
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June-July 2010 | 250 hours |
Under direction of Curator Carl Klase My primary task was conducting an inventory justification with the curator on the vast collection at Pennypacker Mills, much of which belonged to Samuel W Pennypacker. In addition, I became familiar with PastPerfect museum database software to catalog artifacts. I photodocumented, identified, and cataloged collections items, and I rehoused as necessary. I carried out research on various collections items, and I eventually contributed an article to the site’s newsletter. This internship provided me familiarity with historic housekeeping techniques and experience carrying them out. |
Pennypacker Mills historic site in Schwenksville, Pennsylvania
Sterling silver tatting shuttles from the PPM collection
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PAINTINGS CONSERVATION INTERN | Winterthur Paintings Conservation Studio
Spring 2010 | 45 hours |
Under direction of Paintings Conservator Dr Joyce Hill Stoner
Over the course of the semester, I completed a full examination and condition assessment of a painting, wrote a treatment proposal, carried out proposed treatment, and completed a treatment report. Visual analysis of the painting was conducted with the use of UV, visible, and IR illumination. Treatment performed include removal of surface grime, consolidation, varnish removal, and flattening the artist’s board support using heat and humidification. Two large group projects gave me the opportunity to practice my filling and inpainting skills. With the aid of the paintings conservation graduate students, I learned the process of cross-section analysis using polarized light microscopy. I also had the chance to assist with relining using Beva and Hollytex and flatten cupping paint flakes using heat and gentle pressure. As an intern at Winterthur, I sat in on a variety of presentations, met instructors, and toured the labs of various conservation specialties.
Under direction of Paintings Conservator Dr Joyce Hill Stoner
Over the course of the semester, I completed a full examination and condition assessment of a painting, wrote a treatment proposal, carried out proposed treatment, and completed a treatment report. Visual analysis of the painting was conducted with the use of UV, visible, and IR illumination. Treatment performed include removal of surface grime, consolidation, varnish removal, and flattening the artist’s board support using heat and humidification. Two large group projects gave me the opportunity to practice my filling and inpainting skills. With the aid of the paintings conservation graduate students, I learned the process of cross-section analysis using polarized light microscopy. I also had the chance to assist with relining using Beva and Hollytex and flatten cupping paint flakes using heat and gentle pressure. As an intern at Winterthur, I sat in on a variety of presentations, met instructors, and toured the labs of various conservation specialties.
CONSERVATION INTERN | University of Delaware
Fall 2009 | 45 hours |
Under direction of Conservator Anya Shutov
I gained experience in visual analysis and condition assessment, completing a condition report and treatment proposal for a Russian icon in the collection of the University of Delaware. The course also focused on experimentation with a wide array of fill materials, leveling and texturing techniques, and inpainting media. I learned traditional techniques of oil and water gilding and created a frame mock-up, documenting the steps from sizing the wood to laying down gold leaf. Other experiments included inpainting craquelure and creating silicone molds for textured wax fills.
Under direction of Conservator Anya Shutov
I gained experience in visual analysis and condition assessment, completing a condition report and treatment proposal for a Russian icon in the collection of the University of Delaware. The course also focused on experimentation with a wide array of fill materials, leveling and texturing techniques, and inpainting media. I learned traditional techniques of oil and water gilding and created a frame mock-up, documenting the steps from sizing the wood to laying down gold leaf. Other experiments included inpainting craquelure and creating silicone molds for textured wax fills.
