En quatre couleurs
Corrosion and magnetism on an 18th century chatelaine from the collection of the Rijksmuseum Amsterdam.
Suzanne van Leeuwen, Post-Master specialisation Metal, August 2014
Parts of the multi-coloured surface of the chatelaine were covered with a black corrosion product. This study focused on the question as to how the corrosion had formed on an 18 carat gold object.
Go with the Glow
Treatment options for a work of art with a phosphorescent paint layer.
Ellen Jansen, Post-Master specialisation Contemporary Art, August 2012
The artwork ‘Without Title’ (1968) by Rainer ‘IMI’ Giese (Neheim-Hüsten 1942-1974) from the collection of the Rijksmuseum Twenthe in Enschede is an example of a phosphorescent artwork. Over the years a discrepancy has slowly arisen between the original idea of the artist and the condition of the artwork.
A Structural Solution for Peace
The treatment of a chimney piece by Mattheus Terwesten from the collection of the Mauritshuis The Hague.
Marya Albrecht, Post-Master specialisation Paintings, August 2014
The essay describes the investigations preceding the treatment of an interior piece by Mattheus Terwesten (1670-1757) from the Mauritshuis, The Hague. During the recent renovation of the Mauritshuis it was decided to reinstall the painting in the ‘Late Cabinet’. This painting shows the effects of change in appreciation on its current condition.
The Restoration of a Jardinière
Boudewien Westra, Post-Master specialisation Wood and Furniture, August 2014
This thesis covers both the research and the treatment carried out on a nineteenth century neo-Louis XVI jardinière from the collection of the Nationaal Museum Paleis het Loo in Apeldoorn. This thesis focuses mainly on the parts of the jardinière that were originally gilded, but obscured by a black polish.
The Restoration of a Mirror from the Collection of the Rijksmuseum Amsterdam
A reflection on the process of treatment.
Marijke Top, Post-Master specialisation Glass, Ceramics and Stone, August 2013
In this paper the treatment and decision making process of a mirror with a Chinese reverse painting from 1755-1770 is discussed. The mirror was in need of treatment to stabilise its condition for exhibition in the newly opened Rijksmuseum.