Practical Conservation Of Archaeological Objects

Master conservator Douglas R. Armstrong imparts his many years of first-hand, practical experience in the field of marine artifact conservation within the pages of "Practical Conservation of Archaeological Objects". This newly updated version for 2012 includes his methods of cleaning coins recovered from a number of shipwrecks, in particular the inventory of the Chanduy Reef Capitana, and the Consolacion in Ecuador. This is a manual of proven methods that all collectors, be they archaeologists or treasure hunters, at land or at sea, will find indispensable when restoring and conserving a wide range of objects, ranging from buttons, cannon, sword handles, or glassware, to pieces of eight. The author was the first craftsman to handle many objects hereto untouched by conservators of the day, not the least of which are delicate pistols, one of the first wrought iron guns, the original Tumbaga bars of the Bahamas, and a bronze saker made for King Henry VIII. The book is richly illustrated with before and after photos of these projects and is fully indexed. The technology and tools used are described in great detail. Truly, this is a manual that every conservator needs at hand.

Studies in Archaeological Conservation features a range of case studies that explore the techniques and approaches used in current conservation practice around the world and, taken together, provide a picture of present practice in some of the world-leading museums and heritage organisations. Archaeological excavations produce thousands of corroded and degraded fragments of metal, ceramic, and organic material that are transformed by archaeological conservators into the beautiful and informative objects that fill the cases of museums. The knowledge and expertise required to undertake this transformation is demonstrated within this book in a series of 26 fascinating case studies in archaeological conservation and artefact investigation, undertaken in laboratories around the world. These case studies are contextualised by a detailed introductory chapter, which explores the challenges presented by researching and conserving archaeological artefacts and details how the case studies illustrate the current state of the subject. Studies in Archaeological Conservation is the first book for over a quarter of a century to show the range and diversity of archaeological conservation, in this case through a series of case studies. As a result, the book will be of great interest to practising conservators, conservation students, and archaeologists around the world.

Clearly laid out and fully illustrated, this is the only comprehensive book on the subject at an introductory level. Perfect as a practical reference book for professional and students who work with excavated materials, and as an introduction for those training as archaeological conservators.

This is a Foreword by an archaeologist, not a conservator, but as Brad Rodgers says, “Conservation has been steadily pulled from archaeology by the forces of specialization”(p. 3),andhewantstoremedythatsituationthroughthismanual. He seesthisworkasa“calltoactionforthenon-professionalconservator,”permitting “curators, conservators, and archaeologists to identify artifacts that need prof- sional attention and, allow these professionals to stabilize most artifacts in their own laboratories with minimal intervention, using simple non-toxic procedures” (p. 5). It is the mission of Brad’s manual to “bring conservation back into arch- ology” (p. 6). The degree of success of that goal depends on the degree to which archaeologists pay attention to, and put to use, what Brad has to say, because as he says, “The conservationist/archaeologist is responsible to make preparation for an artifact’s care even before it is excavated and after its storage into the foreseeable future”. . . a tremendous responsibility” (p. 10). The manual is a combination of highly technical as well as common sense methods of conserving wood, iron and other metals, ceramics, glass and stone, organicsandcomposits—afarbetterguidetoartifactconservationthanwasava- able to me when I ?rst faced that archaeological challenge at colonial Brunswick Town, North Carolina in 1958—a challenge still being faced by archaeologists today. The stage of conservation in 1958 is in dramatic contrast to the procedures Brad describes in this manual—conservation has indeed made great progress. For instance,acommonprocedurethenwastoheattheartifactsredhotinafurnace—a method that made me cringe.

The PARIS 4 conference, which took place at the National Museum of Denmark in 2011, attracted over 100 participants from 18 countries. Delegates presented and discussed the latest developments in the field of Preserving Archaeological Remains In Situ. These proceedings explore four major themes: rates of degradation in archaeological remains and the limits of acceptable change; the techniques and duration of monitoring on archaeological sites; the role of multinational standards when the sites and national legislations are so variable; reviewing the effectiveness of in situ preservation, after nearly two decades of research. A special issue of Conservation and Management of Archaeological Sites (Vol 14 Nos 1-4).

'Conservation: Principles, Dilemmas, and Uncomfortable Truths' presents multi-perspective critical analyses of the ethics and principles that guide the conservation of works of art and design, archaeological artefacts, buildings, monuments, and heritage sites on behalf of society. Contributors from the fields of philosophy, sociology, history, art and design history, museology, conservation, architecture, and planning and public policy address a wide range of conservation principles, practices, and theories from the US, Canada, Europe, Australia and New Zealand, encouraging the reader to make comparisons across subjects and disciplines. By wrestling with and offering ways of disentangling the ethical dilemmas confronting those who maintain and sustain cultural heritage for today and tomorrow, 'Conservation: Principles, Dilemmas, and Uncomfortable Truths' provides an essential reference text for conservation professionals, museum and heritage professionals, art and cultural historians, lecturers and students, and all others invested in cultural heritage theories and practices. Alison Richmond, as a Senior Conservator in the Victoria and Albert Museum and Deputy Head of the Conservation Department at the Royal College of Art, maintains teaching and research roles in conservation theory, principles and ethics, and has developed decision-making tools for conservators. She is an Accredited Conservator-Restorer (ACR), a Fellow of the International Institute for Conservation (FIIC), and a Trustee of the UK’s Institute of Conservation (Icon) since 2005. Alison Bracker received her PhD in the History of Art from the University of Leeds, and manages the Events & Lectures programme at the Royal Academy of Arts in London. As co-founder of Bracker Fiske Consultants, she advises on the presentation, description, documentation, and care of artworks comprising modern media, and lectures and publishes widely on the theoretical and practical issues arising from the conservation of non-traditional and impermanent materials in contemporary works of art.

Over the past twenty years there has been a significant increase in underwater activities such as scuba diving which, coupled with the adventure andromance always associated with shipwrecks, has led to rapid developments in the discovery and excavation of shipwrecked material. These shipwrecks are invaluable archaeological 'time capsules', which in themajoriety of cases have come to an equilibrium with their environment. As soon as artefacts on the wreck site are moved, this equilibrium is disturbed, and the artefacts may commence to deteriorate, sometimes in a rapid and devastating fashion. In fact excavation without having conservation facilities available is vandalism--the artefacts are much safer being left on the sea bed. Such famous shipwrecks as the Mary Rose (1545), the Wasa (1628) and the Batabia (1629) have not only brought the world's attention to these unique finds, but have also produced tremendous conservation problems. The treatment of a 30 metre waterlogged wooden hull or large cast iron cannon is still causing headaches to conservators.