this file - ICOM-CC

ENAMEL Group
Newsletter N° 3.........................................................Fall 2008
LISA PILOSI
MARC
BAYARD
BÉATRICE
BEILLARD
PETER
MOTTNER
ELENA
AGNINI
PAOLA
SANTOPADRE
MARTINA
GRIESSER
VEERLE VAN
DER LINDEN
ISABELLE
BIRON
JUANITA
NAVARRO
MARCO
VERITÀ
MARK
WYPYSKI
CATIA
VIEGAS
DENISE LING
VERONIQUE NOTIN
STEFAN
ROEHRS
GERHARD
EGGERT
CAROLYN
WYMAN
AGNES
GALL
MARI
YANAGISHITA
Speakers and attendees to the Rome Conference, at the Villa Medici, March 2008
CONTENTS
Editorial
Rome Conference Review
News
People and Projects
Bibliography
Multilingual Glossary
Membership Directory
p. 2
p. 3
p. 6
p. 11
p. 14
p. 15
p. 19-28
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ENAMEL Group
Editorial
Dear colleagues,
It is with pleasure that we present you the third edition of the Newsletter of the
Enamel ICOM-CC group. For those who are reading it for the first time, I would
like to welcome you to this enthusiastic network of specialists of the conservation
of enamel on metal.
This group was created in 2006 by Gerhard Eggert, after a first meeting in the
Castle of Germolles (Burgundy, France). The name adopted was then Enamel on
Metal Conservation Network (EMCN) ICOM-CC Sub-Working group. As you
noticed, the group changed its name and we adopted the simpler one of
ENAMEL.
In spring 2008, the group met for the
second time at the Villa Medici, a
Renaissance palace and a real haven of
peace in the heart of Rome. This
meeting wouldn’t have been possible
without the support of the French
Academy of Rome and the enthusiasm
of Marc Bayard, responsible of the Art
History Department at the Academy. We
would like to specially thank him here
and recognize his essential contribution
to make the meeting possible.
Dr. Guido Cornini in front of the enamel
The meeting was a great success, with
collection of the Vatican Museums
more than eighty participants from ten
different countries attending it. Sixteen speakers (whose names are indicated on
the front page picture) presented their work in progress or research results,
during one day and a half. The lecturers also had the chance to discover the
collection of enamel on metal objects of
the Vatican Museums, during a private
visit with the curator of the Fine Arts
Department, Dr. Cornini.
The meeting ended with a debate with
respect to the role, objectives and near
future of the Enamel Group. Gerhard
Eggert, after two years of good and
devoted services, quit his function of
coordinator of the group and I was
proposed by him to coordinate the group
after having been assistant coordinator
Visit of the conservation laboratory by
conservator Flavia Callori (on the left)
the last two years. Catia Viegas, metals
conservator working at the Victoria and
Albert Museum, accepted also to be
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ENAMEL Group
candidate to assistant coordinator for the next three years, and we both were
elected unanimously by the Group members.
We, therefore, present here our first Newsletter with the hope that it will meet
your expectations to bring you new information and will stimulate you to actively
participate in the life of the ENAMEL Group. Let it be reminded that the main
purpose of the group is to be a network of the ICOM-CC destined to facilitate the
contact and the circulation of information between conservators, scientists,
historians, curators and enamelers... “et qu’il en soit ainsi”!
Rome 2008 Conference Review
You will find here the list of talks presented during this one and a
half day meeting. You can also find the conference abstracts in
English on the web-site of the ICOM-CC WG Metal and Ceramic and
Glass. You will find the link at the end of this newsletter (p.29).
Study of the history and technology of enamel on metal
BÉATRICE BEILLARD , L'apport de la restauration en matière d'expertise
des pièces de formes.
ISABELLE BIRON, Revue de quinze années
d'étude sur les émaux au C2RMF.
GERHARD EGGERT, Chalconatronite and
socoformacite:
joint
copper
glass
corrosion.
JUANITA NAVARRO, Émail en résille sur
verre: Fact or Fiction?
VÉRONIQUE NOTIN, Le musée de Limoges,
lieu de ressources et acteur
recherche sur les émaux.
de
la
Béatrice Beillard showing vessels typologies
STEFAN ROEHRS, About Limoges painted
enamels. Chronological evolution of the
glass.
CATIA VIEGAS WESOLOWSKA, Research on
14th and 15th century translucent
enamels on silver.
CAROLYN WYMAN, Guilloché enamel on
silver base.
Gerhard Eggert presenting the recently discovered
socoformacite corrosion product
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ENAMEL Group
MARK WYPYSKI , Renaissance Enameled Gold and 19th Century Imitation.
Conservation case studies
ELENA AGNINI, The conservation and restoration of 14 stations of the cross
enamels made in the 20th century.
MARTINA GRIESSER, Preserving the enamel
on
Benvenuto
Cellini’s
“Saliera”:
Analysis of its composition by XRF and
SEM/EDX
and
first
consolidation
attempts.
DENISE LING, Conservation survey and
treatment of Limoges enamels at the
British Museum.
PETER
MOTTNER,
Conservation
and
remediation approaches at the Green
Vault Dresden / Results of a German
research project on artworks.
Elena Agnini presenting the treatment of a
modern enamel
MARCO VERITÀ, PAOLA SANTOPADRE, La Pace di Amalfi:
esame e restauro d’uno smalto veneziano del
quindicesimo secolo.
MARI YANAGISHITA, L’altare del battistero di San
Giovanni, smalti trecenteschi e quatrocenteschi a
confronto: tecnica e conservazione.
Poster
V. VAN DER LINDEN, Application of micro-CT on
enameled metal objects; getting an inside view.
Denise Ling presenting the British
Museum collection
Research needs identified in Rome
As a result of the lectures presented and during conversations, and at the end of
the meeting, several topics where identified as "research needs" or subjects that
the community feel are not developed enough or known and that would strongly
benefit from contributions. Those were:
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ENAMEL Group
•
Hands-on conservation reviews
There is always need for information on particular practical conservation
techniques. Please those of you who feel to have mastered a particular
technique, discovered a new tool or application of a material, feel
encouraged to communicate. You will see here an example of this in the
paper by Laura Gorman, who presents us a technique to fill the losses on
enamels.
•
Information on preventive care applied to enamels on metal
In particular we need information on exhibition and storage materials. The
weeping glass issue was discussed during the Rome meeting, and many
questions arose from this: at what point is it appropriate to stop the
weeping? Is there any appropriate treatment (washing)? Does air
circulation help? We should be able to gather information from those of us
who experimented and share it with the community in the form of a
reminder. The thesis of Laurianne Robinet (assistant coordinator of the
ICOM-CC WG Glass and Ceramic, in charge of the Glass Deterioration
Group) was quoted during the discussion as an interesting bibliographical
reference for this subject: Robinet L., The role of organic pollutants in the
alteration of soda silicate glasses, PhD thesis, University of Edinburgh /
Université Paris VI (2006) 225 p. It can be downloaded from:
http://hdl.handle.net/1842/1475.
The group’s bibliography on glass alteration can be downloaded from the
internet:
http://www.icomcc.org/10/documents?catId=9&subId=171. See also the
upcoming issue of Reviews in Conservation 9/2008 for an overview on
glass corrosion in museums.
•
Multilingual glossary
It was agreed by the group that a glossary of terms related to the
conservation of enamel on metal would be a great tool to improve our
knowledge and our communication skills, and would also be a groundwork
upon which do research on the history of enamel conservation. You will
find here the first list of words proposed for definition and translation.
The gardens of the French Academy in Rome, with the Villa Medici on the left and the Vatican in the background
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ENAMEL Group
News
Enamel presentations in New Delhi
Gerhard Eggert
One idea at the very beginning of EMCN was to make enamel presentations (if
accepted for the ICOM-CC Triennial Conference) accessible for members of both
WGs, ‘Metals’ and ‘Glass & Ceramics’. Lisa Pilosi now arranged with the
Programme Committee for New Delhi that on Thursday, September 25 th, 2008,
the glass session started after the WG Metals programme with papers related to
enamel.
Mark Wypyski from the Metropolitan Museum, NY, will talked about ‘Chemical
analyses of Mughal period enamels from India’ (published in the preprints, Vol. I,
pp. 246-251). He studied a group of Indian enameled gold and silver jewelry,
arms, and decorative objects from the 18 th and 19 th centuries. Most of these
enamels were found to have soda-glass compositions with relative large amounts
of aluminium, and may represent a continued glassmaking tradition which
persisted in India for over two millennia. Some, though, have very different
compositions which display evidence for contemporary 18th and 19th cent.
Western technology imported into India.
Gerhard Eggert and co-authors from the State Academy of Art and Design
Stuttgart and the University of Bonn showed what happens ‘When glass and
metal corrode together’ (Vol. I, pp. 211-216). Sodium copper carbonate
(chalconatronite)
and
sodium
copper
formate
acetate
(abbreviated
‘socoformacite’) were detected on objects, such as enamels, containing corroding
soda glass in direct contact with copper alloys (e.g. debased silver). These rare
corrosion products have hitherto been mainly reported from museum bronzes
unearthed from soda rich soils or treated in (caustic) soda solutions.
Socoformacite forms due to the emission of carbonyl pollutants from wood, a
material not suited for the storage or display of enamel objects.
The business meetings of the parent WGs were happy to hear about all ENAMEL
activities and look forward to its continuation. To ensure close cooperation,
ENAMEL coordinator Agnès Gall-Ortlik accepted an appointment as Assistant
Coordinator of the WG ‘Glass & Ceramics’.
Preventive strategy for the presentation of gold snuff boxes at the
Bayerisches Nationalmuseum in Munich
Rainer W. Richter
In 1993 the Bayerisches Nationalmuseum in Munich acquired a large number (55
pieces) of gold snuff boxes, dating mainly to the last quarter of the 18th c. from
the Thurn and Taxis collection in Regensburg. In 2007 the entire collection has
been published by the curator Dr. Lorenz Seelig in the catalogue “Golddosen des
18. Jahrhunderts aus dem Besitz der Fürsten von Thurn und Taxis” (ISBN 978-37774-3295-3). 37 out of the 55 boxes do show enamels on them and the entries
also cover some technological information on the highly refined enamelling
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ENAMEL Group
techniques, available in the foremost jewellers centres (Paris, Genf, Vienna,
Berlin, Hanau), such as guilloché enamelling and the work with paillons.
The described collection of the Bayerisches Nationalmuseum is on permanent
view in the Thurn und Taxis Museum in Regensburg.
The conservation workshops for applied Art and metals at the Bayerisches
Nationalmuseum in Munich are presently working on an improved preventative
strategy for the presentation of the gold snuff boxes. At least about 20% of the
enamelled objects do suffer from glass corrosion processes. Therefore new
display materials (aim: low emissions of detrimental pollutants) were presently
tested to substitute for wooden case construction materials and untested fabrics.
11 translucent and opaque enamelled boxes have been treated (cleaning, enamel
consolidation etc.) during May 2008.
“…so höher als Gold geschätzet”. Das Maleremail aus
Limoges und die Druckgraphik der Renaissance, Staatliche
Kunst…, Dresden, 27.09.08-18.01.09
An exhibition dedicated to the collection of Renaissance Limoges
enamels conserved in the Grünes Gewölbe (Green Vault) opened
last September in Dresden. This exhibition presents selected
works, among the 28 belonging to the museum and compares
them with the images and designs on which they were based. The
majority of the engravings and woodcuts placed on view belong to
the collection of the Dresden Kupfertisch Kabinett and the
Sächsische Landesbibliothek-Staats- und Universitätbibliothek Dresden (among
them are exhibited the Dürer’s Whore of Babylon and a Luther Bible of 1522
illustrated by Lucas Cranach). A richly illustrated inventory catalogue has been
published for this occasion.
Ottocento italiano e
dell’atelier Pénicaud
industriali
Paola Cordera
smalti di Limoges. La produzione
tra revival, collezionismo e arti
The present volume contains part of the author’s studies of the
Pénicaud painted enamels, with a special reference to their
popularity within the 19 th century Italian cultural environment and their
contribution to the growth and subsequent improvement of decorative and
industrial arts. The subject of vast international literature, the art of the painted
enamels of Limoges seems to have engendered little interest – unsystematic at
the best of times – in Italy, perhaps because enamels are of little relevance
within the local artistical tradition.
The Pénicaud enamels – 15 th and 16th centuries – seemed to be an excellent
starting point for the present survey, since in the early 20 th century a lot of
painted enamels were still attributed to Nardon Pénicaud, possibly as a
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ENAMEL Group
guarantee of the incontrovertible evidence of their authenticity within an antique
market troubled by a certain number of fakes. Moreover, such production bears
witness to the changes in style from the late medieval tradition of the earliest
plaques to the Renaissance figurative language found in the 16 th century
enamels. Hence, their widespread success in the first half of the 19 th century is
to be referred to the general predilection for Renaissance art and culture,
internationally celebrated by, among others, Jacob Burckhardt. For instance, the
renewed interest in Leonardo da Vinci’s work, whose mural painting of the Last
Supper was restored in Milan in these same years (1853-1855), and the
celebrations of Donatello in Florence on the occasion of the fifth centennial of his
birth (1887) highlight the growing attention devoted to Italian masters of the
Renaissance, especially celebrated in conjunction with the process of the
Unification of Italy (1861).
At least at the beginning, it was the enlightened Italian aristocracy that
acknowledged the refined European collectors’ predilection. Special attention in
this book is devoted to the collectors Gian Giacomo Poldi Pezzoli (1822 -1879),
Louis Carrand (1827 -1888) and Placido de Sangro (1829 -1891), who played a
far greater role in Italian 19 th century intellectual spheres. Together with their
biographies, their heterogeneous collections were intertwined with the
international cultural context, wherein both the restoration of 15 th and 16th
century enamels and their reproduction occurred, sometimes with a didactic aim,
while at others for the deceitful sales of fakes, as the biographies of Samson,
Frédéric Spitzer, Reinhold Vastner and Louis Marcy attest.
Italian exhibitions of industrial and applied arts witnessed the Italian collectors’
contributions to the shaping of taste. Most of these exhibitions intended to try to
shape artisans’ education and their specialization, according to the general
European trend, wherein the Universal exhibitions, together with the foundation
of several museums of decorative and industrial arts on the model of the South
Kensington Museum (1852), occurred at the same time as national museums
were of founded and/or strengthened. The example of the Esposizione storica
d’arte industriale in Milan (1874) received special emphasis in this book.
The restoration and maintenance of antique pieces of art – supported by the
publication of several ornamental repertoires – evidenced the need to meet the
requirements of the new industrialization process, as stated by Alfredo Melani,
who illustrated his early 20 th century historical synthesis of the art of enamel
work with some enamels designed by his friend, the artist Edgardo Calori.
Nevertheless, the renewal of decorative arts in Italy was delayed and not
homogeneous, a witness of just how little agreement there was between
confident adherence to technical progress on the one hand and very small
innovative formal solutions on the other. Traditional aesthetics, tightly anchored
to the craftsmen’s universe, always seemed to be preferred in Italy.
Finally, a far greater part of this research was devoted to identifying and listing a
certain number of Pénicaud enamels. This first census is intended to be a starting
point that will allow scholars to compare different enamels housed in many
different museums, and to be an instrument in order to explore and analyze
problems related to the production of 19th replicas.
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ENAMEL Group
Paola Cordera, Ottocento italiano e smalti di Limoges. La produzione dell’atelier
Pénicaud tra revival, collezionismo e arti industriali, Vicchio Firenze, LoGisma
Editore, 2008, pp. 158.
The volume is available from the publisher, LoGisma editore (www.logisma.it).
Mail: logisma@tin.it. Telephone: +39 055 8497054. Fax +39 055 8497663.
Dott. arch. Paola Cordera
Via Domenico Scarlatti 21 - 20124, Milano - Italy
tel./fax +39 0220404077; mob. +39 3386286141
paola.cordera@polimi.it
Painted Enamels, An Illustrated Survey 1500-1920
Erika Speel
The enamel painting technique seen against the very long
history of enamelling on metal is a comparatively recent addition
to an ancient art, emerging as a new art form during the
Renaissance period. Following Erika Speel’s comprehensive
Dictionary of Enamelling: History and Techniques, the author has published
another valuable reference guide, this time focused on enamel painting, in
Painted Enamels: An Illustrated Survey 1500-1920. The book covers the entire
period of painted enamels production from its beginnings in the Renaissance
period to the early twentieth century and the individualistic works of the Art
Enamellers. In fact, the title is slightly misleading as the contents include most of
enamel techniques described to a greater or lesser extent. The beginning of
enamel painting in the fifteenth century is traced from rare links as very few
surviving items and inventory records have come down to the present, and are
therefore only briefly covered in the first chapter. In great contrast, in the
sixteenth century enamel painting became an important and very prolific art
form created by the masters of Limoges, and is described by the author in
chapter 2. Chapter 3 to chapter 13 broadly surveys the chief branches of painted
enamelling linking these to the relevant workshop processes and materials that
were employed up to the early twentieth century. These include a chapter
devoted to portrait miniatures, Russian painted enamels, English Battersea
enamels, and Chinese painted enamels of the eighteenth and nineteenth
centuries. It follows into the late eighteenth century and beginning of nineteenth
century with English enamellers, including the work of the Arts and Crafts
movement artists. A chapter on nineteenth century fakes and imitations brings to
light the revival and value of earlier painted enamels. The last chapter describes
the work of the artistic group The Art Enamellers, formed in the late nineteenth
century to c. 1930.
The author has previously published articles on the subject of painted enamels
for various technical journals, but for the first time these have been combined to
produce a very comprehensive and probably one of the only reference books on
this process. Access to museum and private collections as well as advice from
some of the leading practitioners have resulted in a source of both historical and
technical information.
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ENAMEL Group
A biographical section in the book includes some of the leading enamel painters
for the entire period with cross referencing to those included more extensively in
the main chapters. The appendixes are also a valuable reference with
descriptions of the goldsmith-enamellers basic workshop processes, and notes
and quotations on the chemistry of the materials.
Painted enamels: An Illustrated Survey 1500-1920 is a written reference book
rather than an illustrated one, as many of the illustrations are black and white
and therefore do not provide a complete source for studying these pieces as
colour is obviously an important factor. But the technical and historical
information are an invaluable source for historians, collectors and all those with a
particular interest in enamels and in the painted enamels technique in particular.
A good source of study and reference and a must for painted enamel enthusiasts.
Published by Humphries, 2008.
Reviewed by Catia Viegas Wesolowska, Senior Metals Conservator at V&A
Museum, London
Esmaltar. La complicidad del fuego con el arte
Andreu Vilasís
Andreu Vilasís, founder of the Enamel on Metal Program at
the Art School La Llotja in Barcelona, just published a new
revised version of the book he had written in 1982.
With more than forty years of passion and teaching, he
shares with us his experience of the enamel
techniques, traditional and modern. The book is
divided in twelve chapters, beginning with a
description of the workshop of the enameler,
following with a description of the raw materials
used (chapter 2 to 4), the general process of
enameling (chapter 5 to 7) and a description of the
traditional (ch. 8), the modern (ch. 9) and the
industrial techniques (ch. 10). Very interesting for
us is chapter 11, dedicated to the conservation and
the restoration of enamels: even if the treatment
techniques come from the point of view of the
craftsman (Vilasís gives a lot of information about
how to make cold and hot restoration), he claims
Enamels samples from the Maison
Millenet and palettes made by Vilasís
that conservation is the best option!
Published by AUSA, Barcelona, 2008.
Available from Esmalt PAP, Calle Berna 15, 08023 Barcelona, Spain.
Phone:0034932177226, Fax: 0034934152689.
©A. Vilasís
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ENAMEL Group
El esmalte al fuego sobre metales
Núria López-Ribalta, Eva Pascual i Miró
Núria López-Ribalta, actual teacher and head of the Enamel on
Metal Program at La Llotja, and Eva Pascual i Miró just
published a book on enameling techniques. It’s a manual that
completes a series already rich of several books on
goldsmithing, jewellery, etc. The
goal of the collection is to give
students and professionals very practical information
on the topic. The explanations are illustrated with
particularly clear and self-explanatory pictures.
The book is divided in five chapters: The history of
enamel on metal; The enamel as a material; Materials
and tools; The different techniques, and Step by step,
with exhaustive description of the making of five
peculiar examples of enamel.
Published by Parramon, Barcelona, 2008.
Available from the publisher at www.parramon.es
(Artes decorativas y manualidades > Artes y oficios).
©J.Soto
Illustrations on how enamels react to firing
If you would like to review a publication, please e-mail Agnès on
gallortlik@yahoo.fr or Catia on k_viegas@yahoo.com
People & Projects
When
glass
and
metal
corrode
together: basic copper formate
Gerhard Eggert
Astonishingly, nearly no pure copper
formate compounds have been identified on
cultural
heritage
objects
so
far.
Astonishingly,
because
copper
easily
corrodes when exposed to formic acid (as a
number of recent scientific papers have
studied) and formic acid derived from glues,
lacquers, or wood can be around in
museum air.
Now, thanks to contacts through the EMCN
network, a basic copper formate could be
detected
by
X-ray
diffraction
(measurements: Bruno Barbier, Bonn) on
Detail (width ca 3.5 cm) of an enamelled
St. Matthew gilded copper cross (Inv.
6341, possibly Limoges, early 14th cent.)
with socoformacite (blue) and basic copper
formate (green) corrosion.
Credit:
A.
Schwarz
(Museum
für
Angewandte Kunst Frankfurt)
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ENAMEL Group
three combined glass/copper alloy objects from totally different origin: an
enameled cross ascribed to Limoges (Museum für Angewandte Kunst Frankfurt),
a baroque gold ruby glass box (Green Vault Dresden), and a glass flute
(Rijksmuseum Amsterdam), the latter both with debased silver mountings. The
identification was possible although no good match was found in the Powder
Diffraction File (PDF) but the 2 largest peaks pointed to a basic copper formate.
As with socoformacite (see New Delhi article) David Scott’s publication of
diffraction data of unknown corrosion products lead us on the right track. In
‘Copper and Bronze in Art’ (Appendix D, Table 9II) he published a synthetic basic
copper formate which matched perfectly. S. Haseloff (University of Freiburg,
Germany) was now able to synthesize single crystals which then allowed the
determination of the crystallographic structure and the chemical formula:
Cu2(OH)3HCOO (A. Kirfel et al., University of Bonn). This can now be added to
the PDF database allowing perhaps further identifications of hitherto
unmatchable measurements.
The occurrence on combined objects containing also glass is possibly not by
chance: a more alkaline pH produced by glass corrosion could be necessary to
precipitate this basic copper compound. With other diffraction data of corrosion
products still unmatched this is certainly not the end of research on joint
metal/glass corrosion.
Filling losses in enamels
Laura Gorman
Losses in enamels can be very challenging to successfully restore because the
inherent gloss and saturated colors of enamel can be difficult to replicate.
Recently, I developed a treatment technique which gave good results.
Before, during and after treatment, from left to right
The example given here is a small plaque from the 16th century, with a scene
executed in grisaille enamels on copper. The top edge had damage and losses
along its length. Micro-cracks extend from the edge of the loss into the enamel,
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ENAMEL Group
especially in the area of the soldiers' vertical lances at the upper left. Dilute B72
was used to attach any insecure enamel along the edges of the losses. The
copper surface was also coated with B72 to serve as an isolating layer. The loss
was filled using two-part Pliacre/Phillyseal R, because a hard, smooth surface
was required. Some additional fills of low spots in the Pliacre were made using
Polyfix, which shows as white spots in the DT photo. The fill was inpainted using
Gamblin Conservation Colors and spinel black pigment mixed with generous
amounts of Gamblin Galdehyde Resin Solution with isoproponal as the diluent.
The plaque was then placed under an inverted glass bowl with a small, open
container of isopropanol for an hour or more (or less, depending on the size of
the enclosure). This step can be a bit tricky: if the object is left too long, the
paint mixture tends to creep. If timed correctly, the isopropanol vapors allow
the in-painting to smooth out to an enamel-like surface with no visible brush
marks; the surface also has a gloss similar to the enamel. The necessity of
adding a separate varnish layer for gloss is avoided. The spinel black pigment
was critical to achieve the appearance of the highly saturated black enamel; no
other black pigment or acrylic paint came close.
I have also used this technique for high gloss glazes on ceramics with good
results.
Suppliers:
Spinel black pigment available from
www.sinopia.com <file://www.sinopia.com/> , #K4740
Gamblin acrylics and resin
www.gamblincolors.com <file://www.gamblincolors.com/>
Polyfix and B72 available from Talas (NY, NY)
Phillyseal R (formerly Pliacre)
www.chockfast.com <file://www.chockfast.com/>
Laura Gorman
Objects Conservator
Saint Louis Art Museum
One Fine Arts Drive, Forest Park
St. Louis, MO 63110
Telephone 314.655.5261 Facsimile 314.721.6172
laura.gorman@slam.org
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ENAMEL Group
Bibliography: please help!
Agnès Gall Ortlik
Started by myself in 2000 at the library of the Corning Museum of Glass
(Corning, NY) and enlarged in a number of other specialized libraries such as the
INP-IFROA (Paris), ICCROM (Rome), the Concise bibliography on the technology,
deterioration and conservation on enamels on metal has been already homepublished (by the author) and distributed to specialists. You can consult a
version on the website of the ICOM-CC Glass and Ceramic WG. We are now
facing a new edition of the work, with a more complete and updated list of
references.
Please, those of you that have bibliographical databases that would permit to
enrich the already copious list of existing references (more than 200), be kind to
submit them to me for recollection.
The book is divided in four parts, one devoted to Recipes, Manuals and
Enameling Treatises, the second to Technology, the third to Defects and
Deterioration, and the fourth to Conservation. An index by authors and by
subjects closes the publication.
Please contribute to this reference work that will be a great help to all the
conservation community!!!
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ENAMEL Group
Multilingual glossary of terms pertaining to enamel on metal
conservation
How it works
We propose between 3 to 5 words per year to the specialists to think about them
and eventually propose a definition, corrections, comments and translations to
what we give as a starting point for discussion. We propose a clear definition and
an example of common use of the term in conservation.
We expect members of the group or other readers interested to send back their
comments to the group (by using the message with which the Newsletter as
been sent, you can return it to all members of the group). The goal is to share
the information between all of us and make it more effective.
At the end of the 2 years period of coordination of the group and edition of the
newsletter, we will present the results and discuss about the best strategy to
diffuse them. We may propose to publish the glossary as a handbook, but this
will also depend on the results and interest. ICOM-CC official languages are
English, French and Spanish, but it may be an idea to expand to other
languages. Proposals are very welcome!
Words proposed for December 2008
Soldering
Brazing
Process that uses metal alloys with low melting points (below
426°C) to join metallic surfaces without melting them. “Soft
solder” is an easily fusible alloy of tin or lead, and in some
compositions also includes antimony and bismuth (see
Untracht 1982).
French
Spanish
Other (precise)
Soudure
Soldadura
Process that uses metal alloys to join metallic surfaces without
melting them. Could also be called “hard soldering” because it
implies high temperatures to melt the solder (melting point
higher than 426°C). “Hard solder” can also be called “silver
solder” because its main constituent is silver.
French
Spanish
Other (precise)
Brasure
Soldadura fuerte
- 15 -
ENAMEL Group
Welding
Crizzling
Joining together (metal pieces or parts) by heating the
surfaces to the point of melting, with a blowpipe, electric arc,
or other means, and uniting them by pressing, hammering,
etc.
French
Spanish
Other (precise)
Soudure à l’arc ?
Soldadura por
Forger?
coalescencia ?
Crizzling comes from the verb to crizzle, for a skin or a glass
that is becoming rough. The root of the word is the verb to
craze that means to produce surface micro-cracks and, also, to
become crazy. In conservation, it designates a specific
degradation of historical glasses, due to an imbalance/defect in
the composition of the glass, leading to its physical
disintegration. The word is used in general to describe a glass
that presents this type of deterioration. The deterioration itself
develops following several steps, though incipient crizzling can
be distinguish from crizzling and serious crizzling: in the first
stage, “the glasses may appear normal (…), but upon close
examination exhibit telltale silvery rays where fissures have
formed just beneath the surface and catch light as the glass is
rotated under illumination” (Brill 1998). In its earliest stages,
the crizzling “takes the form of a haze or cloudiness on the
surface, which is likely to be slippery to the touch (and) the
glass may retain fingerprints” and give off a slight smell of
vinegar. “This sometimes progresses to the formation of
droplets of moisture (“weeping” or “sweating”)”. Serious
crizzling is observed when the glass dries and shows a rough
surface, with visible cracks, leading to the breaking of the glass
structure.
French
Spanish
Other (precise)
Crizzling / verre
Crizzling / crissling
hydraté?
/resquebrajamiento?
Brill 1998 - Brill (R.H.), “Some Miscellaneous Thoughts on Crizzling” in 18th
International Congress on Glass, San Francisco, 1998 (these proceedings were
issued as a CD-ROM, but printed copies are available from the author).
Untracht 1982 - Untracht (O.), Jewelry. Concepts and Technology, London:
Doubleday & Co, 1982.
- 16 -
ENAMEL Group
Upcoming ICOM-CC Conferences
October 2010 will bring three exciting consecutive events in the US for all group
members:
SUN 03 October - WED 06 October 2010:
On Invitation of Stephen Koob as local organizer, the next ICOM-CC WG ’Glass &
Ceramics’ Interim Meeting will be held at the Corning Museum of Glass, NY, with
its world famous collection (www.cmog.org). As for Nova Gorica 2007, preprints of
the oral contributions will be published.
FRI 08 October - SAT 09 October 2010:
Following the success of the meetings in Germolles 2006 and Rome 2008, the next
Experts' Meeting on Enamel on Metals Conservation will be held at the Frick
Collection in New York, NY (www.frick.org), which owns important enamelled
objects. Local organizer is Julia Day.
MON 11 October - FRI 15 October 2010:
The Interim Meeting of the WG ’Metals’ will take place in the Francis Marion Hotel,
387 King Street, Charleston, South Carolina 29403. Host is the CLEMSON
CONSERVATION CENTER (www.clemson.edu/clemson_conservation_center) where
the Civil War submarine Hunley is conserved. Local organizers: Michael Drews and
Paul Mardikian, preprints of the oral contributions will be published as usual.
Details for all meetings will be posted on the ICOM-CC website in the future, but
you could start thinking about your contribution now. It’s never too early!
- 17 -
ENAMEL Group
Networkers wanted!
WE ARE LOOKING FOR MORE MEMBERS!
The more members actively taking part in the Enamel on Metals Conservation
Network the better for all.
So please fell free to share information about the network and this newsletter with
everyone who might be interested. Please also consider to write news notes about
us to your national conservators' newsletters. We can send a brief presentation
text to local or national journals.
If you want to become a member simply send an e-mail with your contact data
and a short description of what you are doing to Agnès Gall-Ortlik. All
professionals or students who are dealing with the conservation of enamels on
metal are eligible to be a group member. However, membership in ICOM is
encouraged (but not mandatory). For information about the benefits of ICOM
membership and registration forms, see:
http://icom.museum/membership.html and
http://www.icom-cc.org/Benefits/
Networking by e-mail
or
How to post a message to all the members of the group ?
If you are a member of the Enamel Group (i.e. listed in the directory below)
contacting all other members is simple: just keep the e-mail from whom this
newsletter has been sent and use the answer to all function of your e-mail
software (if you loose this e-mail you will have to copy ALL the member's
addresses from the directory yourself, one by one). Please let us know of any
changes to your details so we can keep our members list updated. Your e-mail will
then be addressed to all members of the group. Don't be shy to use it! All others
will love to hear about your current projects or problems, and we'll try to help or
contribute as we can. Think that someone out there might have the answer to
your difficult questions. Just ask! That's what networking is all about...
- 18 -
ENAMEL Group
Membership Directory
Alphabetical list of members, with specialties and area of expertise or
research
This is the first time we publish this alphabetical list of members. We thought it
was interesting to add also the profession and area of expertise of each member.
The contact information of each member can be found below on the list of
members classified by country.
Constituted by 33 members the year of its creation in 2006, the Enamel Group is
now composed of 84 members from 16 different countries (Austria, Belgium,
Czech Republic, France, Germany, Ireland, Italy, Netherlands, Poland, Portugal,
Romania, Spain, Sweden, Switzerland, United Kingdom and United States of
America). This year, the group’s meeting in Rome helped to enrich the Italian list
of participants, who are now the larger group (14 people), followed by English
(12 members) and Americans (10).
Please, let us know if you want us to change or add some information.
Name
Profession
1
2
ACETO Maurizio
AGNINI Elena
3
4
AGOSTINO Angelo
ANGERMANN Christa
5
ANNYS Eva
6
7
BARNES Lorna
BEILLARD Béatrice
8
9
10
BIRON Isabelle
BURGHOUT Frederike
BUSSIENNE Géraldine
11
CAEN Joost
12
13
14
15
16
17
18
CAGNINI Andrea
CALCUTT Lorna
CALLORI Flavia
CORDERA Paola
CORNINI Guido
CRABBE Amandine
CREVAT DE LA
BOLLIERE Stéphane
Scientist
Free-lance
conservator
Scientist
Free-lance
conservator
Free-lance
conservator
Conservator
Free-lance
conservator,
teacher
Scientist
Conservator
Free-lance
conservator
Conservator,
teacher
Scientist
Conservator
Conservator
Art historian
Curator
Scientist
Free-lance
conservator
Area of
expertise
Glass, Ceramic
Country
Italy
Germany
Italy
Austria
Metal, goldsmith
Ceramic, glass,
enamel
Glass, enamel
Belgium
Ireland
France
Ceramic, glass
France
Netherlands
Belgium
Stained glass
Belgium
Glass, ceramic
Metal
Decorative Arts
Metal
Italy
UK
Italy/Vatican
Italy
Italy/Vatican
Belgium
France
- 19 -
ENAMEL Group
Name
Profession
Conservator
Scientist
Conservator
Scientist
Conservator
Conservator
25
26
27
28
29
30
31
DAY Julia
DEGRIGNY Christian
DE JONG Prosper
DEWANCKEL Gilberte
DOOIJES Renske
DRAYMAN-WEISSER
Terry
EDGE David
EGGERT Gerhard
ELLIS Lisa
FISCHER Andrea
FRAGOSO Sara
FRANZON Maria
GALL-ORTLIK Agnès
32
33
34
35
36
37
38
39
40
41
GARACHON Isabelle
GIANNI Liliana
GRIESSER Martina
GORMAN Laura
HARGROVE Suzanne
HALLAM David
HARRIS Fernando
JOOSTEN Ineke
KARASZKIEWICZ Pawel
KIJOWSKA Agnieska
42
KUGLER Ursula
43
LA NIECE Susan
44
LEFEBVRE Monique
45
LEIGH David
46
47
48
LING Denise
LLOYD Helen
LÓPEZ-RIBALTA Núria
49
MADURO Belmira
50
51
52
53
54
MAGGIONI Chiara
MEGENS Luc
MIRANDA Luigi
MISTEWICZ Anna
MOTTNER Peter
19
20
21
22
23
24
Conservator
Scientist
Conservator
Conservator
Conservator
Conservator
Free-lance
conservator
Conservator
Scientist
Conservator
Conservator
Conservator
Conservator
Scientist
Conservator
Free-lance
conservator
Free-lance
conservator
Scientist
Free-lance
conservator
Conservator,
administrator
Conservator
Conservator
Enameler,
teacher
Free-lance
conservator
Conservator
Scientist
Conservator
Conservator
Scientist
Area of
expertise
Enamel
Metal
Metal, enamel
Metal
Metal, glass
Metal
Ceramic, glass,
enamel
Glass
Metal
Glass
Country
USA
France
Netherlands
Belgium
Netherlands
USA
UK
Germany
USA
Germany
Portugal
Sweden
Spain
Netherlands
Italy
Austria
USA
USA
Australia
Italy
Netherlands
Poland
Poland
Goldsmith works
USA
Metal, colouring,
plating and
patination
Ceramic, glass
UK
Belgium
UK
Glass, ceramic
Enameling on
metal
UK
UK
Spain
Portugal
Glass
Glass, enamel
Italy
Netherlands
Italy
Poland
Germany
- 20 -
ENAMEL Group
Name
Profession
55
56
NIEMEYER Barbara
NAVARRO Juanita
Conservator
Conservator
57
58
59
NOTIN Véronique
PAUL Dan Octavian
PILOSI Lisa
Curator
Conservator
Conservator
60
61
62
63
64
65
66
67
Conservator
Scientist
Conservator
Scientist
Scientist
Scientist
Conservator
Conservator
68
69
70
71
PINTO Barbara
PORCINAI Simone
RICHTER Reiner
ROBINET Laurianne
ROEMICH Hannelore
RÖHRS Stefan
ROMANELLI Maria
SCHMIDT-OTT
Katharina
SCHNEIDER Frederic
SCHREINER Manfred
SCHWAHN Birgit
STOJKOVIC Daniela
72
STORME Patrick
73
74
75
76
77
78
79
82
!UMBERA Andrej
TEMPEL Norbert
THICKETT David
TRAUM Renè
TROALEN Lore
VAN BELLEGEM Maickel
VAN DER LINDEN
Veerle
VERITÀ Marco
VIEGAS
WESOLOWSKA Catia
VILASÍS Andreu
83
84
WASSAK Angelika
WYPYSKI Mark
80
81
Private Scholar
Scientist
Student
Free-lance
conservator
Free-lance
conservator,
teacher
Conservator
Conservator
Scientist
Conservator
Scientist
Conservator
Scientist
Area of
expertise
Archaeolo. objects
Ceramic, glass,
enamel
Enamel
Ceramic, glass,
enamel
Metal
Enamel on metal
Glass
Glass
Goldsmith works
Archaeol. objects
Enamel
Country
Germany
UK
France
Romania
USA
Italy/Vatican
Italy
Germany
France
USA
UK
Italy
Switzerland
Glass, ceramic
USA
Austria
Germany
Netherlands
Goldsmith works
Belgium
Goldsmith works
CZ
Germany
UK
Austria
UK
UK
Belgium
Scientist
Conservator
Glass, enamel
Metal, enamel
Italy
UK
Enameler,
teacher
Conservator
Scientist
Enameling on
metal
Spain
Glass, enamel
Germany
USA
- 21 -
ENAMEL Group
Membership Directory
List of members by country
9 December 2008
Coordinator: Agnès Gall-Ortlik (Spain)
Assistant Coordinator: Catia Viegas Wesolowska (United Kingdom)
AUSTRALIA
+43.1.52524.544
David HALLAM
Technology and Research
National Museum of Australia
PO. Box 1901
Canberra 2001 ACT
AUSTRALIA
+61.2.6208.5153
dhallam@nma.gov.au
BELGIUM
AUSTRIA
Christa ANGERMANN
Hofjagd- und Rüstkammer
Kunsthistorisches Museum Wien
Burgring 5
A1010 Wien
ANGERMANN3@A1.net
Martina GRIESSER
Kunsthistorisches Museum
Conservation Science Department
Burgring 5
A-1010 Vienna
martina.griesser@khm.at
+43.1.52524.544
Manfred SCHREINER
Institute of Science and Technology
in Art
Academy of Fine Arts
Schillerplatz 3
A-1010 Vienna
m.schreiner@fch.akbild.ac.at
+43.1.58816.200
Renè TRAUM
Kunsthistorisches Museum
Burgring 5
A-1010 Vienna
rene.traum@khm.at
Eva ANNYS
Dianalaan 34
2600 Berchem
evaannys79@yahoo.com
Géraldine BUSSIENNE
34 av. Evariste de Meersman
1082 Bruxelles
gerbus@skynet.be
+32.24635440
Joost CAEN
Royal Academy of Fine Arts
Conservation Studies
Blindestraat 9-13
B-2000 Antwerpen
j.caen@ha.be
+32.32137138
Amandine CRABBÉ
IRPA
Département de conservationrestauration des métaux
Parc du Cinquantenaire 1
1000 Bruxelles
amandine.crabbe@kikirpa.be
+32.27396831
Gilberte DEWANCKEL
IRPA
Département de conservationrestauration des métaux
Parc du Cinquantenaire 1
1000 Bruxelles
gilberte.dewanckel@kikirpa.be
+32.27396831
- 22 -
ENAMEL Group
Monik LEFEBVRE
78 av. Gevaert
1332 Genval
monik@celadon.be
+32.26541205
Patrick STORME
Royal Academy of Fine Arts
Blindestraat 9
B-2000 Antwerpen
patrick.storme@skynet.be
+32.496810261
Veerle VAN DER LINDEN
Universiteit Antwerpen
Dept. Chemie CDE B1.07
Universiteitsplein 1
2610 Antwerpen
veerle.vanderlinden@ua.ac.be
+32.38202373
CZECH REPUBLIC
Andrej !UMBERA
Vlnitá 56
Praha 4 147 00
a.sumbera@volny.cz
+42.0608710535
FRANCE
Françoise BARBE
Département des Objets d'art
Musée du Louvre
101 rue de Rivoli
75058 Paris cedex 01
francoise.barbe@louvre.fr
+33.1.40205034
Béatrice BEILLARD
15 avenue Marguerite
78220 Viroflay
b.beillard@wanadoo.fr
+33.1.30243512
Isabelle BIRON
C2RMF
Palais du Louvre - Porte des lions
14 Quai François Mitterand
75001 Paris
isabelle.biron@culture.gouv.fr
+33.1.40205829
Stéphane CREVAT DE LA
BOLLIERE
ARLLIAGE
6, Grande rue des Feuillants
69001 Lyon
stephane.crevat@wanadoo.fr
+33.4.72070028
Christian DEGRIGNY
Château de Germolles
Cidex 407
F-71640 Germolles (Mellecey)
christian.degrigny@gmail.com
+33.3.85980124
Véronique NOTIN
Musée municipal de l'Evêché
Place de la Cathédrale
87000 LIMOGES
veronique_notin@ville-limoges.fr
+33.5.55459810
Laurianne Robinet
Groupe "Archéomatériaux et
prévision de l'altération"
Laboratoire Pierre Süe CEA/CNRS
UMR9956
CEA Saclay
91191 Gif-sur-Yvette Cedex
laurianne.robinet@cea.fr
+33.1.69082305
GERMANY
Elena AGNINI
c/o Schoeller
Hans Sachs Str. 10
D- 80469 München
info@restauro-agnini.com
+49.89.35.85.13.65
Gerhard EGGERT
State Academy of Art and Design
Objects Conservation
Am Weissenhof 1
D-70191 Stuttgart
gerhard.eggert@abk-stuttgart.de
- 23 -
ENAMEL Group
+49.711.28440.217
Andrea FISCHER
State Academy of Art and Design
Objects Conservation
Am Weissenhof 1
D-70191 Stuttgart
a.fischer@abk-stuttgart.de
+49.711.28440.265
Peter MOTTNER
Fraunhofer Institute for Silicate
Research (ISC)
'Environmental Monitoring and
Conservation
Research'
Bronnbach Branch
D-97877 Wertheim-Bronnbach
mottner@isc.fhg.de
+49.9342.9221.711
Barbara NIEMEYER
Antikensammlung SMB
Bodestr. 1-3
D-10178 Berlin
b.niemeyer@smb.spk-berlin.de
+49.30.2090.5223
Rainer W. RICHTER
Käthe-Kollwitz-Str. 26
D–01445 Radebeul
r.w.richter@web.de
Birgit SCHWAHN
State Academy of Art and Design
Objects Conservation
Am Weissenhof 1
D-70191 Stuttgart
birgit_schwahn@web.de
+49.711.28440.390
Norbert TEMPEL
Westfälisches Industriemuseum
Abt. Technik &
Restaurierungswerkstätten
Grubenweg 5
D-44388 Dortmund
norbert.tempel@lwl.org
+49.231.6961137
Angelika WASSAK
Hessisches Landesmuseum
Darmstadt
Friedensplatz 1
D-64283 Darmstadt
wassak@hlmd.de
+49.6151.16 57 83
IRELAND
Lorna BARNES
Conservation department, Collins
Barracks
National Museum of Ireland
Dublin 7, Eiré
lbarnes@museum.ie
ITALY
Maurizio ACETO
Dep. of Environmental and Life
Sciences
University of Eastern Piedmont
Via Bellini 25/G
15100 Alessandria (Al)
maurizio.aceto@unipmn.it
39.0131360265
Angelo AGOSTINO
Dep. of General and Organic
Chemistry
University of Turin
Via P. Giuria 7
10151 Torino
angelo.agostino@unito.it
39.116707821
Andrea CAGNINI
Laboratorio Scientifico
Opificio delle Pietre Dure
Viale Strozzi 1
50129 Firenze
andrea.cagnini@beniculturali.it
+39.055.4625488
Flavia CALLORI
Musei Vaticani
Laboratorio restauro metalli e
ceramiche
00120 Città del Vaticano
- 24 -
ENAMEL Group
flaviacal@tiscali.it
+39.06.69884709
maria_romanelli@libero.it
+39.3282673616
Paola CORDERA
Via Domenico Scarlatti 21
20124 Milano
paola.cordera@polimi.it
+39.02.20404077
Guido CORNINI
Musei Vaticani
Reparto delle arte decorative
00120 Città del Vaticano
ad.musei@scv.va
Marco VERITÀ
Stazione Sperimentale del Vetro
Via Briati 10
30141 Murano-Venezia
bprofilo@spevetro.it
+39.041.27.37.043
THE NETHERLANDS
Liliana GIANNI
Via delle coppelle 2
lilianagianni@libero.it
Frederike BURGHOUT
Moerbeiboom 19b
NL-4101 WB Culemborg
frederikemb@yahoo.co.uk
+31.6.41607996
Fernando HARRIS R.
Via delle Margherite 38
04011 Aprilia (LT)
harrisf51@hotmail.com
39.0692012051/3332813447
Prosper DE JONG
Klikspaanweg 46-15
NL-2324 LZ Leiden
prosper.de.jong@icn.nl
+31.6.24578735
Chiara MAGGIONI
Via Gozzadini 6
20148 Milano
chiaramaggioni@fastwebnet.it
Renske DOOIJES
National Museum of Antiquities
PO Box 11114
NL-2301 EC Leiden
r.dooijes@rmo.nl
+31.71.5163152
Luigi MIRANDA
Via delle margherite 38
04011 Aprilia (LT)
adnarimi@hotmail.com
+39. 3333985375
Barbara PINTO FOLICALDI
Via Bruxelles 47
00198 Roma
barbarapintofolicaldi@gmail.com
+39.335421408
Simone PORCINAI
Opificio delle Pietre Dure
Viale Filippo Strozzi 1
50129 Firenze
s.porcinai@ifac.cmr.it
Maria ROMANELLI
Via F. Gianni 3
50134 Firenze
Isabelle GARACHON
Rijksmuseum
Hobbemastraat 22
P.O. Box 74888
1070 DN Amsterdam
i.garachon@rijksmuseum.nl
+31.20.6.74.72.34
Ineke JOOSTEN
Instituut Collectie Nederland
Postbus 76709
NL-1070 KA Amsterdam
ineke.joosten@icn.nl
+31.20 305 46 88/728
Luc MEGENS
Instituut Collectie Nederland
Postbus 76709
- 25 -
ENAMEL Group
NL-1070 KA Amsterdam
luc.megens@icn.nl
+31.20.305.47.78
Daniela STOJKOVIC
Her Blauwe Paard Restauratie Atelier
Czaar Peterstraat 179 on.
1018 PK Amsterdam
daniela@hetblauwepaard.nl
www.hetblauwepaard.nl
+31.6.53.755.345
POLAND
Pawel KARASZKIEWICZ
Academy of Fine Arts
Conservation Faculty
Conservation of Glass Laboratory
Ul. Smolensk 9
431-108 Krakow
zekarasz@cyf-kr.edu.pl
+48.12.292.62-92 ext. 37
Agnieska KIJOWSKA
Ul. Dluga 30/34 m 19
00-238 Warsaw
kmagnie@yahoo.com
Anna MISTEWICZ
Ul. Stuzby Polsce 1 m 41
02-784 Warszawa
amistewicz@mnw.art.pl
PORTUGAL
Sara Leite FRAGOSO
Laboratório de C&R de Metais,
Departamento de Conservação e
Restauro
Faculdade de Ciências e tecnologia,
UNL
Campus da Caparica
2829-516 Monte da caparica
eslf@fct.unl.pt
+35.1212948322
Belmira MADURO
Das janelas verdes 37
Lisboa
belmiramaduro@hotmail.com
ROMANIA
Dan Octavian PAUL
Muzeul Banatului - Timisoara
Piata Huniade no.1
300002 Timisoara
dopaul@zappmobile.ro
+40.256.491592 int.124
SPAIN
Agnès GALL ORTLIK
Sant Eusebi 52
S-08006 Barcelona
gallortlik@yahoo.fr
+34.93.2006570
Núria LÓPEZ-RIBALTA
Escola La Llotja
Ciutat de Balaguer
Barcelona
nribalta@suport.org
+34.93.4357858
Andreu VILASÍS
Via Augusta, 119 - sobre àtic 2ª
08006 BARCELONA
avilasis@suport.org
+34.93.2096959
SWEDEN
Maria FRANZON
National Museum of Fine Arts
The Conservation Department
Box 16176
SE-103 24 Stockholm
mfn@nationalmuseum.se
+46.8.51954317
SWITZERLAND
Katharina SCHMIDT-OTT
Schweizerisches Landesmuseum
Sammlungszentrum
Zentrum für Konservierung
Lindenmoosstrasse 1
CH-8910 Affoltern am Albis
katharina.schmidt-ott@slm.admin.ch
- 26 -
ENAMEL Group
+41.44.7621373
UNITED KINGDOM
Lorna CALCUTT
104, West Dean, Near Chichester,
West Sussex, PO18 OQY
lorna.calcutt@westdean.org.uk
+44.1243.811.864
David EDGE F.S.A.
Armourer & Head of Conservation
The Wallace Collection
Hertford House
Manchester Square
London, W1U 3BN
david.edge@wallacecollection.org
+44.020.7563.9510
Susan LA NIECE
Scientific Research, CSR
The British Museum
Great Russell Street
London WC1B 3DG
slaniece@thebritishmuseum.ac.uk
David LEIGH
ICON
3rd Floor, Downstream Building
1 London Bridge
London, SE1 9BG
dleigh@icon.org.uk
+44.20.7785.3803
Denise LING
The British Museum
CDS Department
Great Russell Street
London WC1B 3DG
dling@thebritishmuseum.ac.uk
Helen LLOYD
The National Trust
Heelis
Kemble Drive
Swindon, SN2 2NA
helen.lloyd@nationaltrust.org.uk
+44.1793.817767 or
+44.7774.109201
Juanita NAVARRO
Ceramics and Glass Conservation
Victoria and Albert Museum
Cromwell Road
London, SW7 2RL
j.navarro@vam.ac.uk
+44.20.7942.2088
Stefan RÖHRS
The British Museum
CDS Department
Great Russell Street
London WC1B 3DG
sroehrs@thebritishmuseum.ac.uk
David THICKETT
English Heritage
1 Waterhouse Square
138 Holborn
London EC1N 2ST
david.thickett@englishheritage.org.uk
+44.207.973.3322
Lore TROALEN
National Museum of Scotland
Chambers Street
Edinburgh, EH1 1JF
l.troalen@nms.ac.uk
+44.131.247.4110
Maickel VAN BELLEGEM
Department of Conservation,
Documentation and Science
The British Museum
Great Russell Street
London WC 1B 3DG
mbellegem@thebritishmuseum.ac.uk
+44.20.7323.8295
Catia VIEGAS WESOLOWSKA
Metals Conservation studio, V&A
Cromwell Road
London SW7 2RL
c.viegas@vam.ac.uk
+44.2079422103
(PLEASE NOTE from May 2009
change of address to:
ulica Wassowskiego 16/3A,
Gdansk 80-225 Poland
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ENAMEL Group
+48723733220
k_viegas@yahoo.com)
shargrove@toledomuseum.org
+1.419.254.5771 EXT. 7460
UNITED STATES OF AMERICA
Ursula KUGLER
145 Nassau Street # 8c
New York, NY 10038
ursula66@gmail.com
+1.212.673.0093
Julia DAY
The Frick Collection
1 East 70 th St.
New York, NY 10021
day@frick.org
+1. 2125470714
Terry DRAYMAN-WEISSER
The Walters Art Museum
600 N. Charles Street
Baltimore, MD 21201
tweisser@thewalters.org
+1.410.547.9000
Lisa ELLIS
Objects Conservation
Museum of Fine Arts, Boston
465 Huntington Avenue
Boston, Mass. 02115-5597
lisamarieellis@hotmail.com
+1.617.369.4085
Laura GORMAN
Objects Conservator
Saint Louis Art Museum
One Fine Arts Drive, Forest Park
St. Louis, MO 63110
+1.314.655.5261
laura.gorman@slam.org
Suzanne HARGROVE
Toledo Museum of Art
2445 Monroe St.
Toledo, OH 43620
Lisa PILOSI
Sherman Fairchild Center for Objects
Conservation
The Metropolitan Museum of Art
1000 Fifth Avenue
New York, NY 10028
Lisa.Pilosi@metmuseum.org
+1.212.396.5379
Hannelore ROEMICH
Conservation Center
Institute of Fine Arts
14 East 78th Street
New York, NY 10021
hannelore.roemich@nyu.edu
+1.212.992.5890
Fredric SCHNEIDER
142 East 71st Street
New York, NY 10021
xyzfritz@aol.com
Mark T. WYPYSKI
The Metropolitan Museum of Art
Department of Scientific Research
1000 Fifth Avenue
New York, NY 10028
mark.wypyski@metmuseum.org
+1.212.396.5380
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ENAMEL Group
Imprint
The Enamel on Metals Conservation Network is coordinated by Agnès Gall-Ortlik
(also responsible for the Newsletter) and Catia Viegas Wesolowska, in close
cooperation with David Halam (Coordinator ICOM-CC WG 'Metals') and Gerhard
Eggert (Coordinator ICOM-CC WG 'Glass & Ceramics'). See contact information in
the Group member list.
Links
Documents of the Network may be found on the parent group websites:
http://icom-cc.icom.museum/WG/Metals/MoreInfo/
http://icomcc.icom.museum/WG/CeramicGlassRelatedMaterials/Newsletters/
All documents will also be posed on the freely accessible MetalConsn-info pages:
http://rsc.anu.edu.au/~hallam/subject%20areas.html
If you have any suggestions or information to add, please send an email
to Agnès (gallortlik@yahoo.fr).
We hope you are enjoying our first newsletter !
Kind regards
A.G.O.
C.V.W.
NEXT DEADLINE FOR SUBMISSIONS
APRIL 15th 2009
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