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Dudley, Dorothy H., , Wilkinson, Irma Bezoid, and Others. Museum Registration Methods . 3rd Ed. Washington, D.C.:

Dudley, Dorothy H., , Wilkinson, Irma Bezoid, and Others. Museum Registration Methods . 3rd Ed. Washington, D.C.: Amercian Association of Museums, 1979. Basic procedures. 2. Incoming and outcoming material

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Dudley, Dorothy H., , Wilkinson, Irma Bezoid, and Others. Museum Registration Methods . 3rd Ed. Washington, D.C.:

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  1. Dudley, Dorothy H., , Wilkinson, Irma Bezoid, and Others. Museum Registration Methods. 3rd Ed. Washington, D.C.: Amercian Association of Museums, 1979 Museum and Gallery Management

  2. Basic procedures • 2. Incoming and outcoming material 11 In general, objects are received in a museum for study or examination; as purchases, gifts, or bequests for the permanent collection; as loans for special exhibitions; or as extended loans to the museum for long-term, sometimes indefinite, use. For whatever reason an object comes to a museum, the registrar has several responsibilities in receiving the new material. • 3. The Registration of objects Museum and Gallery Management

  3. Accession File (30) The first accession records should include the following information: • Accession number • Date received • Date accepted • Source of acquisition (purchase; gifts; bequests; expedition, including field number; etc.) Museum and Gallery Management

  4. Accession File • Artist, maker, cultural group, species • Title and/or description • Date or period • Exact measurements • Condition • Purchase price • Insurance value (optional) • Date recorded and initials of recorder Museum and Gallery Management

  5. The Cataloguecard (31) …cataloguing is a curatorial function • Accession number • Catalogue number(if different from accession number) • Artist, maker, cultural group, species • Provenance • Marks (labels, seals, etc.) Museum and Gallery Management

  6. The Catalogue • Date or period • Title and/or description • Medium or material • Source of acquisition(purchase; gifts; bequests; expedition, including field number; etc.) • Date received • Date accepted Museum and Gallery Management

  7. The Catalogue • Insurance value(optional) • Purchase price • Photograph and/or negative number or sketch of object • Location and description of signature • Exact measurements • Condition Museum and Gallery Management

  8. The Catalogue • Publications or references • History (ex-collections, exhibitions, etc.) • Date catalogued and initials of cataloguer Museum and Gallery Management

  9. 4 Measuring and marking objects • (58)Ceramic objects: The number is applied in paint or ink,with a protective overcoat, in an inconspicuous place not likely to be worn by handling and not obscuring any marks…The number is placed on the bottom, inside the lip, or near the bottom on the outside. Or the number is placed on the base, inside the rim of the foot. Care must be taken to place the number where it will not be scraped as the piece is set down or moved. If necessary, the number can be placed near the lower edge of the back. Potsherds are marked on the side without decoration. Pottery pipes are marked on the bottom of the bowl or, if broken, on the inside surface Museum and Gallery Management

  10. 4 Measuring and marking objects • on the pipestem end. (61) Manuscripts and Documents: The number and an ink-stamped identifying symbol are generally placed on the written or blank side of the document. For a complete information, see the Library of Congress’s Preservation Leaflet 4, Marking Manuscripts (62) prints: The number is marked in pencil, lightly, on the reverse, preferably on a lower corner in the margin. If the print is hinged in a mount, the number is placed on the unhinged end. The mount, or mat, is also numbered and, if framed, the frame is marked as for paintings. Museum and Gallery Management

  11. Basic procedures • 5. Storage and Care of Objects Museum and Gallery Management

  12. Basic procedures • 6. Loans from Museum collections Museum and Gallery Management

  13. Basic procedures • 7. Packing and Shipping Museum and Gallery Management

  14. Basic procedures • 8. Importing and exporting Museum and Gallery Management

  15. Basic procedures • 9. Insurance Museum and Gallery Management

  16. Basic procedures • 5. Storage and Care of Objects Museum and Gallery Management

  17. Jones, Betsy B. A Procedure for acquiring objects, including partial gifts, at the Museum of Modern Art (201-204) Museum and Gallery Management

  18. Kennedy, Winifred. A Classification System for Art Objects (205-207) Museum and Gallery Management

  19. Majewski, Lawrence J. Classifying Paintings, Drawings, and Prints by Media, with a Note on Classifying Construction(208-218) Museum and Gallery Management

  20. Classifying Paintings, Drawings, and Prints by Media • Drawings The classification of drawings usually involves the type of material used as a pigment rather than a vehicle or medium with which pigments are mixed. There are, then, drawings in pencil, pen and ink, brush and ink, charcoal, crayons of colored wax, colored chalks, points of metals such as silver, gold, and lead, and sometimes paint…. Occasionally a drawing is complex enough that the result might be referred to as a painting, as in the case of pastel drawings by Degas and Lautrec. Technically, however, when a dry-pigment process is used, that is, when the coloring substance is rubbed into the ground or support, the result should referred as a drawing. The classification of works in pastel as drawing or paintings is more or less a matter of opinion. Thus, in this classification, pastel is listed as a type of painting as well as a drawing medium. Museum and Gallery Management

  21. Classifying Paintings, Drawings, and Prints by Media Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), 1508-12Made by Michelangelo Buonarroti (Italian, Caprese 1475 - 1564 Rome)ItalianPurchase, Joseph Pulitzer Bequest, 1924 (24.197.2) Museum and Gallery Management

  22. Classifying Paintings, Drawings, and Prints by Media Ia Orana Maria (Hail Mary), 1891Paul Gauguin (French, 1848–1903)Bequest of Sam A. Lewisohn, 1951 (51.112.2) Museum and Gallery Management

  23. Classifying Paintings, Drawings, and Prints by Media • Graphic Arts The term “graphic arts” is in general use for designating all processes for the production of multiple-proof pictures on paper on a handmade basis, the work being done either wholly or for the most part by the original artist and the editions limited. The processes are also referred to as printmaking and the resulting pictures as prints. In classifying prints it is important to know something about the various processes in use today…The four types are relief, intaglio, planographic, and stencil. Museum and Gallery Management

  24. Harty, Marcia Cittis, Vilcek, Marica and Rhyne, Brice. Cataloguing in the Metropolitan Museum of Art, with a Note on Adaptations for Small Museums (219-227) Museum and Gallery Management

  25. Cataloguing in the Metropolitan Museum of Art, with a Note on Adaptations for Small Museums (220)…The accession number 53.19.2 signifies that the item was acquired in 1953, that it was part of the nineteenth transaction of the year, and was the second item n that particular transaction. Classification by material arranged alphabetically as follows: Arms and Armor Ceramics (porcelain, pottery) Coins Costumes Drawings and Watercolors • Enamels Fans Glass Horology Museum and Gallery Management

  26. Cataloguing in the Metropolitan Museum of Art, with a Note on Adaptations for Small Museums Ivories Lacquers Lapidary work Leatherwork Medals and plaquettes Metalwork (brass, bronze, gold, silver, etc.) Miniatures Musical instruments Natural substances (amber, straw, wax, etc.) Paintings Sculpture Silhouettes Textiles (embroideries, laces, tapestries, woven, etc.) Wallpapers Woodwork (architectural, furniture) Museum and Gallery Management

  27. Buck, Richard D. Inspecting and Describing the Condition of Art Objects(237-244) Museum and Gallery Management

  28. Inspecting and Describing the Condition of Art Objects (240-244 Concise Glossary of Terms Used to Describe Condition of Works of Art Crack: a fracture or fissure in any surface, especially a paint film. No loss is implied Mold, Mildew: a large group of small fungi, the vegetative structures of which invademany organic substances. Pentimento: literally, repentance or a change of mind; in a painting, a visible evidence of an early design below a revised design…. Soil: a general term denoting any material that dirties, sullies, or smirches an object. Grime: soil tenaciously held on surfaces Tear: a break in fabric, paper, or other sheet material as a result of tension or torsion. Museum and Gallery Management

  29. www.art-conservation.org • mold Museum and Gallery Management

  30. Water damage • www.art-conservation.org Museum and Gallery Management

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