2011 Dec CAC Bulletin.p65 - Canadian Association for Conservation

Transcription

CAC
ACCR
BULLETIN
Canadian Association for Conservation of Cultural Property / Association canadienne pour la conservation et la restauration des biens culturels
DECEMBER 2011 DÉCEMBRE Vol. 36 No. 3 ISSN 1206-4653
http://www.cac-accr.ca
President’s Letter
Contents
Table des matières
We proudly announce the launch of our new website, thanks to the long
hours of hard work of Shelagh Linklater coordinating it all. There will be
more content to come, though it already looks fabulous! If you have any
comments or requests, you are free to submit them.
President’s Letter
Lettre de la présidente
1
1
Editors’ Note
Note de la rédaction
2
2
CAC Grants & Awards Committee
Comité des bourses et des prix de
l'ACCR
3
Membership Renewal
Renouvellement d'adhésion
4
4
Membership Committee
Comité des adhésions
5
5
On our site you will note that we have launched our bilingual nationwide
survey of members. We hope you will all participate, as our aim is to find
out who you are and what you are up to. The deadline for participating is
December 31st, but we may extend this, if we have not received enough
responses. We urge you to complete it as soon as possible. For security
and accuracy, the survey has been set up for one survey per computer.
Those of you who share a computer or do not have access to one, please
contact our coordinator, who will be happy to mail you a printed paper copy.
The password in both the English and the French versions is 'conservation'.
Across the Country - Dans tout le pays
Western Region - Région de l’Ouest 6
Eastern Region - Région de l’Est
13
We hope you have read the Report from the CAC-CAPC Merger Committee, in the September Bulletin. During the Annual Conference in
Peterborough in 2012, the committee will offer a presentation of their ideas.
Conferences and Training - Congrès
et formation
21
Lettre de la présidente
3
C'est avec plaisir que nous vous annonçons le lancement de notre nouveau
site Web, rendu possible grâce aux nombreuses heures de travail acharné
de Shelagh Linklater qui a coordonné le tout. Bien que nous devions y
ajouter du contenu ultérieurement, le site a déjà fière allure! N'hésitez pas à
nous faire parvenir vos questions ou vos commentaires.
Sur le site, vous remarquerez que nous avons lancé le sondage national
bilingue de nos membres. Nous espérons que chacun de vous y participera,
car notre objectif est de savoir qui vous êtes et ce que vous faites. La date
limite pour participer au sondage est fixée au 31 décembre, mais il se peut
que nous prolongions la durée si nous estimons le nombre de réponses
insuffisant. Nous vous invitons donc à y répondre le plus tôt possible. Pour
plus de sécurité et une plus grande précision, on ne peut répondre qu'une fois
au sondage avec un même ordinateur. Si vous partagez un ordinateur ou si
vous n'en possédez pas, veuillez communiquer avec notre coordonnatrice qui
vous enverra avec joie un exemplaire imprimé. Le mot de passe à entrer tant
pour la version française que pour la version anglaise est " conservation ".
CAC Bulletin de l’ACCR Vol. 36 No. 3 December 2011 décembre
1
The plan includes a round table discussion following the
presentation, so that members can air their concerns or
ideas.
The Queen's University Art Conservation Program was
very happy to have a very strong and clear response of
support from the conservation community on the hiring
freeze facing the program. Though the impact of future
faculty retirements is still not clear, the staff at Queen's
are cautiously optimistic thanks to all the support they
received in the community. The administration is very
aware of how much support the MAC program has in
Canada and abroad.
Silvia Kindl
Nous espérons que vous avez lu le rapport du comité de
fusion ACCR-ACRP qui figure dans l'édition de septembre
du Bulletin. Le comité présentera ses idées au cours du
congrès annuel de 2012 au Nouveau-Brunswick. On
prévoit une table ronde après la présentation pour donner à
nos membres l'occasion de nous faire part de leurs
inquiétudes et de leurs suggestions.
Les responsables du programme de conservation des
œuvres d'art de l'Université Queen's University se sont
dits très heureux d'avoir reçu le soutien évident de la
communauté de la conservation-restauration à propos de
la suspension des embauches à laquelle fait face le
programme. Bien que l'effet des départs à la retraite au
sein de la faculté ne soit pas encore clairement défini, le
personnel de l'Université Queen's demeure prudemment
optimiste en raison du soutien de la communauté.
L'administration reconnaît l'importance du soutien dont le
programme jouit au Canada et à l'étranger.
Silvia Kindl
Editors’ Note
The editors of the CAC Bulletin are Charlotte Newton and Janet Wagner. The layout is done by Scott Williams.
The Bulletin is published by the Canadian Association for Conservation of Cultural Property, 207 Bank Street,
Suite 419, Ottawa, ON, Canada K2P 2N2, phone (613) 231-3977, fax (613) 231-4406, http://www.cac-accr.ca.
The deadline for the next Bulletin is February 15, 2012. Send submissions to [email protected],
phone (613) 998-3721, fax (613) 998-4721.
Responsibility for statements made in the articles and letters printed in the Bulletin rests solely with the contributors. The views expressed by individual authors are not necessarily those of the editors or of CAC.
Note de la rédaction
Les rédactrices du Bulletin de l’ACCR sont Charlotte Newton et Janet Wagner. Scott Williams assure la mise
en page. Le Bulletin est publié par l’Association canadienne pour la conservation et restauration des biens
culturels, 207, rue Bank, bureau 419, Ottawa, (ON) Canada K2P 2N2, téléphone (613) 231-3977, télécopieur
(613) 231-4406, http//:www.cac-accr.ca. Les textes soumis pour fins de publication dans le prochain Bulletin
doivent nous parvenir avant le 15 février 2012. Veuillez envoyer vos articles à [email protected],
téléphone (613) 998-3721, télécopieur (613) 998-4721.
La responsabilité concernant les déclarations faites dans les articles et les lettres imprimés dans le Bulletin
revient exclusivement aux auteurs. Les opinions exprimées par les auteurs ne sont pas nécessairement celles de
la rédaction ou de l’ACCR.
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CAC Grants & Awards
Committee
Comité des bourses et des
prix de l'ACCR
Eighteen members received Grants to attend the 2011
CAC Conference and/or Workshop.
Dix-huit membres de l'ACCR ont reçu des bourses pour
assister au congrès annuel 2011 et aux ateliers proposés
dans le cadre du congrès.
Name
Crystal Maitland
Dee Stubbs-Lee
Joanna McMann
Marianne Webb
Ian Hodkinson
Iona McCraith
Silvia Kindl
Cindy Colford
Brenda Smith
Grant
$1100
$1100
$ 800
$ 800
$ 800
$ 800
$ 600
$ 600
$ 600
Name
Heather Dumka
Nicole Christie
Kendrie Richardson
Elizabeth Boyce
David Daley
Megan McIntosh
Christina Prokopchuk
Bonnie McLean
Dorothy McCord
Grant
$ 600
$ 600
$ 600
$ 500
$ 500
$ 500
$ 500
$ 400
$ 400
Additionally, Meaghan Monaghan received the Pass The
Torch Award of $700, generously donated by Michael
Harrington on the occasion of his retirement.
A single $2500 Training Grant was awarded in 2011, to
Elisabeth Czerwinski, for "Suction Table Workshop for
Treatment of Paper and Textiles".
The Charles Mervyn Ruggles Award was presented
to Laszlo Cser. As a renowned private paintings conservator, his contributions to the profession as well as to the
public at large have been extensive. Most paintings
conservators are familiar with his development of
conservation products and equipment. His willingness
and ability to share information and collaborate on
projects has been invaluable to many colleagues. His
high standard of work and professional commitment are
evident in all that he does. Laszlo Cser has been tireless
in his work to promote the conservation profession within
the heritage sector as well as for the general public. For
this we are all grateful and may take inspiration.
The 2011 Emerging Conservator Award went to
Tessa Thomas for her outstanding achievements during
Nom
Crystal Maitland
Dee Stubbs-Lee
Joanna McMann
Marianne Webb
Ian Hodkinson
Iona McCraith
Silvia Kindl
Cindy Colford
Brenda Smith
Bourse
1 100 $
1 100 $
800 $
800 $
800 $
800 $
600 $
600 $
600 $
Nom
Heather Dumka
Nicole Christie
Kendrie Richardson
Elizabeth Boyce
David Daley
Megan McIntosh
Christina Prokopchuk
Bonnie McLean
Dorothy McCord
Bourse
600 $
600 $
600 $
500 $
500 $
500 $
500 $
400 $
400 $
Par ailleurs, Meaghan Monaghan a obtenu la bourse
Passer le flambeau, d'une valeur de 700 $,
gracieusement offerte par Michael Harrington à
l'occasion de sa retraite.
En 2011, une bourse de formation de 2 500 $ a été
accordée à Elisabeth Czerwinski, en vue de participer à
l'atelier de traitement des papiers et des textiles sur table
aspirante.
Le Prix Charles Mervyn Ruggles a été remis à
Laszlo Cser. La contribution de Laszlo Cser, renommé
restaurateur privé de tableaux, à la profession et auprès
du public en générale est importante. La plupart des
restaurateurs de tableaux sont au courant des produits et
équipements mis au point par M. Cser. Son envie et sa
capacité de partager de l'information et de collaborer à
divers projets ont une valeur inestimable aux yeux de ses
collègues. Ses normes élevées au travail et son
dévouement professionnel transparaissent dans tout ce
qu'il entreprend. Laszlo Cser a travaillé sans relâche pour
promouvoir la profession de restaurateur auprès du
secteur du patrimoine ainsi qu'auprès du grand public.
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studies in paper conservation, her Teaching Assistantship,
and her work as Class President at Queen's University.
Congratulations Tessa.
Revisions to the CAC Grants and Awards program have
been approved for 2012. The Conference and Workshop
Grants have been renamed Professional Development
Grants. This will include the same eight grants to attend
the CAC Annual Conference and/or Workshop, as well
as five new grants of $500 each for attendance at other
professional development events. There will be only one
"Training Activity Grant" of $2500 in 2012, reflecting the
lack of applications to this grant category in the past. For
further information, please see the CAC Website.
The Grants & Awards Committee work has been
accomplished with the able assistance of Tracy Satin and
Lucie Heins. Lucie has chosen to move on to other
work in 2012. Her gracious enthusiasm and cooperation
have been most appreciated. Tracy will continue to do
the bulk of the work associated with CAC Awards. If
you are interested in participating on this CAC standing
committee, please contact Kasey Lee.
Nous lui en sommes tous reconnaissants et le remercions
pour son inspiration.
Le Prix du restaurateur émergent 2011 a été remis à
Tessa Thomas en reconnaissance d'une réussite hors du
commun durant ses études en restauration du papier, de
son poste d'assistante à l'enseignement et de son travail
en tant que présidente de classe à l'Université Queen's.
Félicitations Tessa!
Les modifications proposées pour le programme de bourses
et de prix de l'ACCR ont été approuvées pour 2012. Les
bourses pour assister au congrès ou à un atelier ont été
renommées bourses de perfectionnement
professionnel. Cette dénomination inclura les huit bourses
prévues pour assister au congrès annuel de l'ACCR et aux
ateliers proposés dans le cadre du congrès, en plus de cinq
nouvelles bourses de 500 $ pour assister à d'autres
événements de perfectionnement professionnel. Il n'y aura
qu'une " bourse pour activité de formation " de 2 500 $ en
2012, en raison du nombre peu élevé de demandes pour
cette bourse dans le passé. Pour de plus amples
renseignements, veuillez consulter le site Web de l'ACCR.
Le comité des bourses et des prix a accompli son travail
grâce au précieux appui de Tracy Satin et Lucie Heins.
Lucie a choisi de se consacrer à d'autres tâches en 2012.
Son enthousiasme et sa collaboration ont été très appréciés.
Tracy continuera à assumer les fonctions relatives aux prix
de l'ACCR. Si vous désirez faire partie ce comité permanent, veuillez communiquer avec Kasey Lee.
Kasey Lee
Kasey Lee
Membership Renewal
May we remind you that your CAC membership fees
are due for renewal on January 1, 2012. Membership
fees for 2012 are:
Nous aimerions vous aviser que vos frais d'adhésion de
l'ACCR doivent être versés le 1er janvier 2012. Les
frais d'adhésion pour 2012 sont :
regular:
institutional:
student:
supporting:
$85
$170
$30
more than the applicable
category
Non-residents of Canada add $20 (USA) or $30
(outside Canada and the USA) for postage.
individuel :
institutionnel :
étudiant :
membre bienfaiteur :
85$
170$
30$
montant supérieur à la
cotisation pour sa catégorie
Pour les membres résidant à l'extérieur du Canada,
veuillez ajouter le montant suivant afin de couvrir les
frais de poste : États-Unis : $20 ; ailleurs : $30.
Late fee after February 28, 2012: $10
Frais supplémentaires après le 28 février 2012 : 10$
4
Membership Committee
Comité des adhésions
We are very happy to report that the amount received in
cash donations from our Supporting Members in 2011 has
again increased significantly to a total of $2,590. This is
more than double the amount given last year.
Il nous fait grand plaisir de vous annoncer que le montant
des dons en argent comptant que nous avons reçus de
nos Membres bienfaiteurs a encore une fois augmenté de
façon significative et s'élève cette année à 2,590 $; plus
que le double du montant reçu l'année dernière!
We would like to thank our 2011 Supporting Members for
their generous support of our Association.
In the $1,000 - $1,499 category
Laszlo Cser
In the $500 - $999 category
Michael Harrington
In the less than $500 category:
Alyssa Becker-Burns, Barbara Buchanan, Nicole
Charley, Cathy Collins, Keith Eccles, Michael Eisen, Joan
Fussell, Alan Grogan, Amanda Harding, Emily Hartley,
James Hay, Irene Karsten, Beverley Lambert, Michel
Lemaire, Mary E. Murphy, Janice Passafiume, Michele
Phillips, Elizabeth Richards, Dee A. Stubbs-Lee, Alan
Todd, and Robert Waller.
On a more sobering note, our overall membership
numbers have decreased by 6% since last year. This
may be due to an increase in membership fees, combined
with the difficult economic times. We have had a slight
increase in Institutional, Supporting and Student membership, but there has been a significant decrease, of more
than 12%, in Regular membership. The Membership
Committee will be contacting our lapsed members in the
next few months; we hope that a number of them will
rejoin the Association in 2012.
I would like to end on a happy note by welcoming two
new members to the Membership Committee: Kendrie
Richardson, our new Directory Editor, and Rebecca
Latourell, our new Membership Committee Chair. I
would like to thank Anne Sinclair, outgoing Directory
Editor, for managing the production of our Directory in a
most efficient and timely manner, over the past few
years. Also, a belated thank you to Irene Karsten, our
previous Membership Committee Chair and current
Journal Committee Chair, whose long-time contribution
and dedication to the Association are invaluable.
Nous aimerions remercier nos Membres bienfaiteurs
pour l'année 2011, pour leur généreux soutien à notre
Association.
Dons entre 1,000 et 1,499 $
Laszlo Cser
Dons entre 500 et 999 $
Michael Harrington
Dons de moins de 500 $
Alyssa Becker-Burns, Barbara Buchanan, Nicole
Charley, Cathy Collins, Keith Eccles, Michael Eisen, Joan
Fussell, Alan Grogan, Amanda Harding, Emily Hartley,
James Hay, Irene Karsten, Beverley Lambert, Michel
Lemaire, Mary E. Murphy, Janice Passafiume, Michele
Phillips, Elizabeth Richards, Dee A. Stubbs-Lee, Alan
Todd et Robert Waller.
Sur une note plus sobre, le nombre total de nos membres
a diminué de 6% depuis l'année dernière. Cette baisse
peut-être due à l'augmentation des frais d'adhésion
combinée avec une période d'économie difficile. Le
nombre de nos membres institutionnels, bienfaiteurs et
étudiants a légèrement augmenté, mais le nombre de
membres individuels a diminué de plus de 12%. Le
comité des adhésions fera un suivi, au cours des
prochains mois, auprès des membres qui n'ont pas
renouvelé cette année. Nous espérons que certains
d'entre eux seront en mesure de renouveler en 2012.
En terminant sur une note plus positive, nous aimerions
souhaiter la bienvenue à deux nouveaux membres du
comité des adhésions: Kendrie Richardson, notre
nouvelle Rédactrice de l'Annuaire des membres et
Rebecca Latourell, notre nouvelle Présidente du Comité
des adhésions. Nous aimerions remercier Anne Sinclair,
Rédactrice sortante de l'Annuaire des membres, pour
avoir géré la production de notre Annuaire, des plus
efficacement, ces dernières années. Également, des
remerciements tardifs à Irene Karsten, Présidente
sortante du Comité des adhésions et couramment
Présidente du Comité du Journal, dont la contribution de
longue date à l'Association est inestimable
5
Western Region - Région de l’Ouest
Manitoba
Parks Canada Western and Northern Service
Centre
This fall the Inorganics and Composites Lab welcomes
intern Carolyn Sirett from Fleming College. Carolyn is
focussing her internship on the treatment of metal objects
and she is researching procedures for removing asbestos
from artifacts.
On September 24, Rick Lair, Senior Furniture Conservator, and Tim Worth, conservation volunteer, presented
their research, "Vernacular Furniture of the Red River
Colony: 1800-1820", at the Canadian Society of Decorative Arts' annual symposium held in Winnipeg. Their
presentation highlighted the unique furnishings made in
the region and the multicultural design influences. Rick
and Tim plan to publish a book on the same topic
Dalley Froggatt Heritage Conservation Services
Jane Dalley and Brad Froggatt continue to work with
provincial organizations, various institutions and the
general public. One project involved salvaging a collection from an abandoned rural museum that was structurally unsafe, infested with rodents, black mould and
possibly a ghost. Unfortunately, vandals removed the
contents before salvage could take place.
Jane attended the Association of Manitoba Museum's
annual conference and gave two short talks on toxic
collections. She is still working on the Gudbrands Bibla, a
Gothic bible belonging to the University of Manitoba. The
first few sections are in the poorest condition and require
careful, time-consuming treatment.
The Manitoba Museum
The conservators worked on taking down our summer
exhibits at the beginning of September. Lisa May and
Ellen Robinson have started back on the regular gallery
maintenance and inventory schedule, now that we're on
winter hours (closed Mondays). Lisa also completed
condition reports and photos for an exhibit developed by
a local history society, installed in our Grasslands Gallery.
Other work included a few condition reports and mounts
for a small photographic/documentary case in conjunction
6
with the Museum's 40th Anniversary; internal consultations for new exhibits of meteorites and minerals; and
plugging away at the treatment backlog. Kathy Nanowin
worked on fleshing out the Conservation Treatment Plan.
In September, contractors installed additional safety lines
in the Nonsuch Gallery, and we received new safety
harnesses. Excitingly, this brings us closer to being able
to actually climb in the Nonsuch rigging and start cleaning again! After eight years of not being aloft, the dust is
so bad that even visitors are noticing it. We're hoping to
start in the new calendar year.
Lisa May attended CCI Symposium 2011, Adhesives
and Consolidants for Conservation: Research and
Applications in October.
Check out the Collections and Conservation blog on The
Manitoba Museum's website:
http://www.manitobamuseum.ca
Most of the blog entries are about conservation, but
contributions are planned from all departmental staff, so
collections management will be covered as well.
Saskatchewan
Royal Saskatchewan Museum
Conservator Alyssa Becker-Burns wore a number of
different hats over the past few months, overseeing
equipment modifications and purchases for the RSM
warehouse and galleries, as well as the manufacture of
three new temporary exhibit cases destined for the
RSM's First Nations Gallery. This spring she co-taught
two sessions of the Museums Association of
Saskatchewan's Care of Collections, along with
conservator Brenda Smith. On the curatorial side, this
summer Alyssa welcomed Young Canada Works student
Caitlin Mullan, who wrote capsule biographies on the
artists represented in the RSM's Fine Art Collection, and
assisted with the move of paintings into the new space at
the RSM Annex. This fall, Alyssa is welcoming Fleming
College student Shireen Sasani, who will be completing
her conservation internship at the RSM lab. Shireen has
been investigating taxidermy treatment methods, and
creating much needed storage mounts for saddles in the
Aboriginal History collection.
As for temporary exhibits, the RSM has been proudly
displaying in its lobby a full sized replica of Big Bert (also
known as the Carrot River Crocodile or Terminonaris
robusta), a 92 million year old crocodile found in the
Pasquia Hills. This is the most complete skeleton of this
type of crocodile in the world. It will be coming down
this fall to become the centre point of a new RSM
travelling exhibit. In RSM staff news, noteworthy
changes include the arrival of John Snell as the new
Head of Exhibits, and the promotions of Ray Poulin as
the new Head of Research and Collections, and Tim
Tokaryk as the new Curator of Palaeontology.
MacKenzie Art Gallery
Another use for rare earth magnets
For our current retrospective exhibition Tactile Desires,
The Work of Jack Sures, we needed to design a system
which could safely handle repetitive mounting/removal of
ceramic tiles in two large wall murals. The murals are
mounted to the wall in sections. The ceramic tiles in each
section are permanently mounted to plywood, except for
the tiles covering the screws which hold the plywood on
the wall. The wall mural in the below photos is con-
structed in four sections, meaning 16 tiles must be
removable. A system using rare earth magnets and
washers was designed to mount these tiles.
The magnets and washers* together are about ¼" thick
and the plywood ½". The plywood was drilled with a
forstner bit to a depth of ¼" which would be sufficient
for the washer and magnet to lay flush to the surface**.
Washers were permanently inset into the plywood.
The mural was then laid out horizontally as it would
appear mounted on the wall with sections butted together,
and the rare earth magnets placed on the washers.
Acryloid B-72 was applied to the top of the magnets, and
the tile then placed on top. This was an easy method of
ensuring that the tile was correctly aligned on the mural
section. The adhesive was allowed to cure in place. At
that point the tile could be lifted on and off. This is a
super easy system to install and de-install, and once
mounted, there is no evidence.
*The washers and magnets available at Lee Valley tools.
**It was felt that even though the plywood base was only ¼
thick below the washer making it weak on its own, the strength
of the washer adhered to the plywood would provide sufficient
support.
Brenda Smith, Conservator
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Alberta
Glenbow Museum
Heather Dumka is working on a survey of the plastic
artifacts in our collection and recently wrapped an
elephant howdah in 8 m of silver cloth! Priyanka Vaid
finished a survey of 475 sculptures in preparation for
rehousing in new storage shelves and she visited the
Montana Historical society in Helena, Montana, to
examine works that are potential loans for a Charlie
Russell exhibit next summer. Lee Oldford Churchill has
been working on various storage and exhibit projects,
including items for Watch Me Move, Glenbow's latest
exhibit.
Heather Dumka
Provincial Archives of Alberta
The PAA lab has seen some changes recently, with the
arrival of a new Young Canada Works Conservation
Intern and the departure of another long-time contractor.
Christina Abramenko is with us until February 2012. She
is a recent Fleming graduate who came to us after
completing two internships at Parks Canada in Ottawa.
Mary Hocaliuk, the 2009 YCW Conservation Intern, has
recently accepted a position with the Archives of
Manitoba, and we wish her well in her new job! (Since
the Winnipeg Ikea won't be opening until late 2012,
though, we expect to see her again reasonably soon!) In
the meantime, Kimberley Main is enjoying an extended
trip to Europe, where she will be prowling through as
many historic sites as she can fit in four weeks. She's
taking a well-deserved break from her work at the
PAA"s fee-for-service programme (operated by the
Archives Store and Client Services). It is work as usual
for Alison Freake, with workshops and ongoing projects
to re-bind the local history collection in the PAA library,
and the rare books conservation project (which Mary just
completed). Terry O'Riordan has two National Archival
Development Programme projects ongoing: a video
digitization project (based on last year's video survey, also
completed by Mary Hocaliuk), and a photo digitization
project, which will result in digital versions of three
collections of small local photographers' studios from the
early 20th century.
Alison Freake
Elizabeth Richards has mainly been mounting textiles simple jobs but satisfying because people learn the
importance of having a conservator help with mounting
8
art work. Restoration of a circa 1960 Dresden plate quilt
had the owner in happy tears when she saw the result.
She had made the top with her mother as a teenager but
the top was so uneven it didn't lie flat and it had never
been quilted. I have also worked on an interesting 1848
sampler - with a linen ground and fine wool embroidery.
After cleaning and mounting it looked much cleaner and
brighter. I was pleased because this was the second
article I have worked on from a local art dealer and I
think she has learned to appreciate conservation.
Elizabeth Richards
University of Lethbridge Art Gallery
A series of 14 large-scale Polaroid photographs by
Canadian artist, Iain Baxter, have been in demand from
the University of Lethbridge Art Collection lately, but
after being loaned to Paris last year, the mounting hinges
in the frame were giving away on the trip home. (Just
how big is a large-scale Polaroid, you may ask? 20" x
24": pretty big!) I contacted Greg Hill at CCI for some
advice on how to get that plastic-y Polaroid support to
stay in place, since the works were going on loan again
right away to the Museum of Contemporary Art in
Chicago and the AGO. The adhesive he suggested
required the use of a fume hood, so we borrowed some
space in a biology lab at the University, which meant
trekking the work through the hallways and clearing out
of the bio lab when students were coming in for a class.
It took a few days to complete and was an excellent time
to educate Miranda Grol, museum studies grad who
works with me, about MSDS information, proper use and
disposal of chemicals, and application and working
properties of a new adhesive that we hadn't worked with
before. It was also an excellent example of how to get
helpful information you need from colleagues in the
profession.
I had the opportunity in September to meet the new
museum studies students at the U of L and teach them
about care and handling of artwork and artifacts, and
show them a little of what type of conservation work we
are able to do at the gallery. I also met with the more
seasoned, third-year museum studies students as they
worked on research projects about specific works in the
collection. Part of the information I shared was that
Google will not always answer questions about an
artwork in a collection, some information has to actually
be searched from actual people or from actual paper
documentation!
Juliet Graham
University of Calgary Centre for Arts and Culture
Preparations for the grand opening of the new high-tech
library on October 20 have been keeping Conservation
Advisor David Daley quite busy. Opening day highlights
included speeches by Mayor Nenshi and the new Alberta
Premier Alison Redford, who spoke quite well without
notes. Exhibit cases were filled with selections from the
Rare Books and Special Collections and artworks from
The Nickle Galleries were hung. Other preparations
included the relocation of a cast iron printing press and
heavy soapstone sculpture to the foyer area and the
hanging of select artworks from The Canadian Architectural Archives. Now that our offices have moved into the
new six storey building, attention can be made to finish
packing preparations of the rare books and special
collections for the final move into the new library and an
offsite high density library.
British Columbia
AT Conservators
Andrew Todd's conservation studio continues to be
involved in assessment projects including a Pole Barn for
the City of Surrey. The Royal Totem Pole at Windsor
Castle in Great Britain was examined in August 2011 and
the report is being developed for treatment options. The
Mungo Martin duplicate that stands outside the
Vancouver Maritime Museum is being used for comparative study of rates of deterioration and factors causing
deterioration. The assessment project for the St. Roch at
the Vancouver Maritime Museum is underway at this
time. New treatment projects are also underway for
sculptures in the studio and outdoors.
Andrew Todd
Burnaby Village Museum
A bonus of capital funding has supported the renovation
and repair of several of the heritage buildings and
exhibits at the Burnaby Village Museum. A new fire
suppression dry pipe, sprinkler system has been installed
in the Love Farmhouse. The log cabin has a new shake
roof and daubing between the logs. Garden sprinkler
damage to the wooden sill and chimney mortar of the
1922 Elworth house is also receiving attention. In the
eternal battle against rodents, Tom Irvine's 1910 house
has been relieved of unwanted tenants, leading to new
techniques in the elimination of unwanted odours. Some
conservation work just isn't pretty. In the area of prevention, conservation is preparing a first responders "binder"
of PDF building floor plans for the Museum's 34 exhibits,
heritage buildings and Administration building. Fire
fighters will be able to access the files when responding
to a situation at the museum and quickly locate electrical,
gas, and water services, annunciator and alarm panels,
lock boxes, boilers, sprinkler shut-offs and collections in
each venue.
Elisabeth Czerwinski
Fine Art Conservation
Rebecca Pavitt at Fine Art Conservation had a busy
summer this year. With the help of conservator Marcia
Abramoff, 25 illustrations by Oscar Cahen were prepared for exhibition in a record breaking four weeks. The
show - Oscar Cahen: Canada's Groundbreaking
Illustrator - opened Oct 1 at Illustration House in NY,
and was attended by Rebecca, her daughter Kate (who
helped with the surface cleaning and report writing) and
her mom Marianne. It was a wonderful evening enjoyed
by all. Most of the illustrations are on Hi Art illustration
board, and treatment challenges involved stain and
adhesive reduction while retaining the original paperboard
supports and avoiding highly water sensitive liquid
watercolor (Dr. Martin's) medium.
Rebecca also had the opportunity to work on seven of
Robert Thornton's Temple of Flora series. My goal with
this treatment was to avoid any water treatment which
might affect the delicate image areas. Waterstains on the
margins of the print were removed using strips of Gellan,
in a modification of the method described by Iannuccelli
and Sotgiu in the 2010 Book and Paper Annual. Water
from the gel was discouraged from wicking into the
image area by working on thick blotters and edging the
perimeter of the image area, front and back, with
cyclododecane. This method minimized tidelines and
those which did develop were removed on a suction
table, using heated water mist generated by a Preservation Pencil.
Rebecca Pavitt
Fraser Spafford Ricci Art & Archival
Conservation Inc.
The Fraser Spafford Ricci lab has increased the staff
contingent in paintings conservation, retaining Emily Min
as a full time conservator and welcoming Christine
Foster back on a three day week to accommodate her
new son, Devan, into her schedule! The lab welcomes a
new volunteer, Sarah Bohuch, an archaeology student at
Simon Fraser University hoping to enter the conservation
9
field. A local photographic technician, Leonardo Bocale,
has also been working in the lab short term digitizing and
printing historic photographs of the Lower Baker Dam
for a conservation/collections management project FSR
is undertaking for Puget Sound Energy in Washington
state, USA.
The conservators cleaned 16 large works of art (acrylic
on canvas, painted wood and textile art) recovered after
a fire in the Canada Games Centre in Whitehorse,
Yukon. Sarah Spafford-Ricci had an opportunity to
further refine her approach to soot removal from paintings, particularly whilst conservators cleaned a four panel
acrylic on canvas painting by Yukon artist Lillian Loponen
measuring 27 by 9 feet. Located at the fire site, the soot
coverage was heavy and even managed to penetrate
between small joins in the coroplast backing. Some of
the public art sculptures that remained on-site were given
a final cleaning and some minor conservation treatment
by a technician/artist in Whitehorse with materials and
telephone instructions from FSR. The fire response and
recovery was a successful cooperative effort and an
official reopening is planned for this fall (though it is
informally open already).
Many historic and contemporary paintings received
treatment in the FSR lab during the late summer and into
the fall. Over the years, the lab has also been receiving
an increasing number of reproduction paintings in the lab
for examination, estimate or treatment. These paintings
are prints on paper adhered to stretched canvas, or are
prints directly onto a ground layer on canvas. Although
many of the paintings are easily replaced and cost of
conservation far exceeds value, a few have high historic
or collector value. Particularly in private conservation,
we see that it is a reality that conservators will increasingly be asked to examine or treat these reproductions.
We have found that they present obvious difficulties due
to their materials and construction, and have been
refining treatment protocols in the few cases that we
have treated these works. An early reproduction of a
World War I scene (ink on paper on stretched canvas,
varnished) was recently treated successfully in our lab.
The small work was dirty, had a distorted support and
several tears - some that penetrated only the paper and
some both the paper and canvas. The painting was swab
cleaned (a light rapid touch is necessary to avoid penetrating the very thin varnish over the ink/paper) with a
solution from the Modular Cleaning System. The painting
was removed from the stretcher, humidified with use of
Goretex laminate, and placed onto a suction table to dry
slowly under pressure on blotter; the pressure retained
adhesion of the paper to canvas and prevented movement of the laminated supports. After drying and whilst
10
still on the suction table, the tears were repaired in the
paper and canvas edge-to-edge using thinned Jade 403.
Fills were done in a mixture of cellulose powder, calcium
carbonate, methylcellulose and a small amount of Mowiol
GE4-86. A polyester strip lining was adhered with BEVA
371 film. Inpainting was done in watercolour and the
surface was then given a thin coat of Acrylioid B72
varnish (pre-tested for reversibility).
Sarah Spafford-Ricci, Principal Conservator of Fine
Art
Miriam Clavir taught an intensive eight-day introduction
to conservation course at the Université de Montréal in
late September-early October for their Masters in
Museology program.
Miriam Clavir
Royal BC Museum
The Royal BC Museum has a busy upcoming exhibition
schedule, including displays of photographs, dinosaurs,
and maps. Artifact loans and public programs likewise
keep us hopping. Check out our Internet presence on
Facebook, the RBCM Website
(www.royalbcmuseum.bc.ca), YouTube, and Twitter.
Colleen Wilson has been busy supplying blogs on conservation topics that are always amusing and informative.
Digitized documentation and Archives digitization projects
are usurping a great deal of our time, often, it seems, far
too much. But this is a time of change in our profession
and nobody can afford to ignore the inevitable.
We have no interns in the labs at this time, so if you're a
student looking for a wonderful human or natural history
or archival collection on which to cut your teeth, and the
best Canadian weather to enjoy, do be sure to contact us
as we always love our students.
Casey Lee, Conservation Services Manager
Marianne Webb's new lab is now up and running in
Halfmoon Bay on the Sunshine Coast of British Columbia. Dry walling and unpacking happened just in time to
receive her first major undertaking. Conservation treatment is proceeding slowly but surely on the 19th century
eight panel Chinese lacquer screen. It is a challenging
project that includes consolidation, varnish removal, and
loss compensation. Fortunately she has had two interns
this summer to assist with the treatment. Caroline
Thiphavong from the Institut national du patrimoine in
France participated from May through July and Christine
Puza from the Buffalo State College program assisted in
the month of September. Now that her able students
have left Marianne expects to spend the winter in the
daily routine of varnish removal.
Marianne Webb
Yukon
2011 was a busy year for conservators/conservation in
the Yukon. On Friday, June 24 a fire was set in the
Leisure Ice rink of the Whitehorse Canada Games
Centre. Thanks to a well-trained staff, well-maintained
fire detection/suppression equipment and modern building
construction, there were no injuries, the fire was contained to a small area, and structural damage to the
Centre was limited. The Games Centre is home to
numerous pieces of Yukon contemporary art, many
commissioned for the space, some very large. All were
exposed to varying amounts of heat, water/high humidity
and soot. Happily, comprehensive insurance coverage for
the Centre allowed the City of Whitehorse to hire a
professional conservation firm to assess the art, provide
consultation as it was removed so the Games Centre
could be was cleaned and repaired and to undertake
cleaning and treatment work.
Two weeks after the fire, with a professional building
cleaning company already working in the Centre, Sarah
Spafford-Ricci of Fraser Spafford Ricci Fine Art Conservation and Restoration flew to Whitehorse and a local
collection/conservation crew rallied to help her maximize
her time on-site. Heritage contractor Cathy DeerGrasholme, Yukon Art Curator Garnet Muething, Yukon
Archives Conservator Rob Ridgen and Museums
Program Conservator Val Monahan spent the day in the
smoky Centre helping Sarah examine art and remove
loose soot while Sarah's daughter tracked forms and
ferried equipment. After this condition blitzing, and with
several days of additional consultation from Rob Ridgen,
the work of cleaning and restoring the Centre's art could
begin. Since then, Cathy Deer-Grasholm has been reframing and doing basic cleaning on the sturdiest pieces.
Cathy also packed up the remaining works for transport
to the Fraser/Spafford-Ricci lab in BC for more complicated cleaning and treatment. Thanks to the hardworking staff at Fraser/Spafford-Ricci and Cathy DeerGrasholm, the treated works should be ready for reinstallation at the Canada Games Centre before the New
Year. Yukoners look forward to seeing their favourite
pieces back in the restored Games Centre!
Yukon Archives
Rob Ridgen (Conservator) continues to advise on multiyear projects to improve environmental conditions within
the Yukon Archives building. In March, Rob completed
the six month course Supervisory Success Program.
Also in March, the Archives invited Gilles St-Laurent
(Chief Conservator, Audio, L.A.C.) to visit to assess the
storage and reformatting of the Archives' analogue audio
records. The Archives audio preservation plan will be
written based on Gilles' recommendations. Diana
Komejan (Private Conservator) had contracts with the
Archives in March and June 2011, continuing her assessment of motion picture films. To date, more than one
third of the Archives' film holdings have been assessed.
Rob Ridgen continues his work with NPTAC - Canadian
Preservation Cooperation Initiative - Analogue, a team
investigating documentary heritage preservation expertise
and audiovisual preservation capacity in Canada.
In January 2011 the Yukon Archives Digital Preservation
Management Policy was approved. This plan will pave
the way for development and implementation of a
government-wide program to preserve Yukon's digital
documentary heritage. Related work includes the
transfer of digitized assets to two RAID 6 storage
servers (9.1 TB), brought into production in July and
configured with a focus on workflow, security permissions and data redundancy.
Disaster preparedness never ends! This year, the Archives reviewed its Emergency Procedures and two
water leak, rapid response kits were assembled for the
Archives building. The Yukon Government is currently
doing high level, multi-departmental risk planning, designed to assist with allocation of resources. Participation
helped the Archives identify high priority risks, including
some that would impact collection preservation objectives.
On the records management side of things, Rob Ridgen
plans to apply strategies from his 2010 FAIC course
Records Management & Information Management
for Conservation to improve the Yukon Archives
documentation system. Looking ahead, the Yukon
Archives will celebrate its 40th anniversary in 2012. The
Archives staff is also planning for the Association of
Canadian Archivists (ACA) Conference In Search of
Archival Gold to be held in Whitehorse from June 7
through June 9, 2012.
Valery Monahan
11
Yukon Museum Conservation Program
Work continues on artifacts recovered from the wreck of
goldrush sternwheeler A. J. Goddard. A preliminary
exhibit Finding the Goddard will open at the Hougan's
Heritage Gallery at Arts Underground, Whitehorse, this
November, featuring photography from the archaeological fieldwork and research leading up to the wreck's
discovery and identification. A follow-up exhibit featuring
the artifacts recovered from the wreck is planned for the
Yukon Transporation Museum in May 2012.
Design work is complete for the exhibit Secrets of the
Ice, opening June 2012 at the new Kwanlin Dün Cultural
Centre on the Whitehorse waterfront to coincide with the
Centre's hosting of Frozen Pasts III, an international
glacier archaeology conference. The exhibit will feature
a selection of ancient hunting tools recovered from Yukon
ice patches. Artifact preparation will start soon on the
exhibit artifacts, but the entire Yukon ice patch collection
must also be examined as it will go on display "behind the
scenes" for conference participants.
Preparation work has begun on a 30,000 year old wooly
mammoth skull with tusks recovered from a Yukon
klondike gold mine in June 2010. There are plans to put
the 115 kg, but fragile skull on display. First, several kilos
of river silt must be coaxed from its brain pan and
elaborate sinus cavities, detached fragments re-attached,
and a safe mount created. Museums program conservator Val Monahan will consult with Gisli Balter (YG
Historic Sites Reproduction/Restoration Specialist) as the
work goes ahead.
In October, eighteen heritage workers from eight communities around the Yukon attended the Yukon Regional
CCI workshop Preservation Management for Seasonal Museum presented by Deborah Stewart. The
workshop presentations were very informative and
sparked lively conversations between the participants,
eager to compare facilities/strategies for their community
museums and cultural centres.
12
Eastern Region - Région de l’Est
Newfoundland and Labrador
Conservation project performed by the Museum
Association of Newfoundland and Labrador
(MANL)
In 2007, the Museum Association of Newfoundland and
Labrador (MANL) embarked on a conservation pilot
project that allowed the organization to assess the
conservation needs of many of their member museums
as well as raise awareness of the importance of conservation for provincial museum collections. This project
involved two steps: to ask the museum community to help
determine their conservation needs; and to provide
selected museums with the services of conservation
professional to assess their conservation needs, provide
recommendations for conservation priorities and assist in
the development of a conservation plan.
In the following years, 2008/2009 and 2009/2010, the
Government of Newfoundland and Labrador, through the
Cultural Economic Development Program, assisted
MANL in providing the services of a professional
Conservator to perform ten conservation assessments for
selected museums in the province.
In 2010, an exciting new "Heritage Cluster Pilot Project"
was launched by the Department of Tourism, Culture,
and Recreation on the Great Northern Peninsula of
Newfoundland.
This project is supported through the Cultural Economic
Development Program, and it was established in order to
assist thirteen community heritage organizations to
improve their operations, services to the public, and build
their overall capacity. (For more information on the
project go to: http://www.tcr.gov.nl.ca/tcr/heritage/
heritage_cluster_pilot_project/index.html)
In 2011 MANL was once again able to provide Global
Preservation Assessments to eight of these institutions.
The preservation assessments provide various benefits to
participating museums including the identification of
conservation problems and recommendations for solutions provided by a trained conservation professional.
These assessments also provide museums with the
information they need to plan and prioritize their conservation initiatives in the most efficient and effective
manner. By assisting museums in their conservation
activities, MANL aims to help to ensure the preservation
of our province's material heritage. It is our sincere hope
that support for this project will continue in the future so
that more museums in the province of Newfoundland and
Labrador can improve their preventative conservation
strategies.
Danielle Rundquist
New Brunswick
New Brunswick Museum
The New Brunswick Museum's conservation lab has
been exceptionally busy lately. This fall, we are hosting
two internships simultaneously: May-Lin Polk is completing her 4 month internship for Fleming College's Collections Conservation and Management Program, and
Danny Doyle, a recent graduate of Algonquin College's
Applied Museum Studies Program, is working on a
Young Canada Works funded internship for 7 months.
Both interns are contributing in various ways to the
general flow of work through the lab. May-Lin's internship is focused on her research into the hazards of
pharmaceuticals in museum collections. She is also
assisting Dee Stubbs-Lee with conservation of objects
for a major upcoming exhibition marking the bicentennial
of the War of 1812. Danny will be working closely with
Claire Titus on the conservation of Miller Brittain's huge
cartoons (full scale preparatory drawings) for a never
realized mural for the Saint John Tuberculosis Hospital.
Much of this work will take place in a public gallery - a
unique and important opportunity for engaging the public
and raising awareness of conservation.
In addition to the general flow of work through the lab,
the NBM conservation team have been keeping busy
helping to coordinate the move of a large part of the
collections to offsite storage to allow for building repairs,
and planning for the 2013 conference of the CAC at the
NBM - the first time the conference has been held in the
Maritimes in over a decade.
Dee Stubbs-Lee
13
Conservation Co-op
The Conservation Co-op has been working for several
clients. Work done for CANB included a project for the
Girl Guides. This involved framing six reproductions from
digital copies made from original photographs. An
example is Girl Guide Camp at Harding Point
(1930's). A housing project for the Charlotte County
Archives consisted of 81 ledgers from approximately
1830 to 1961. Harriet Irving Library projects include the
first steps of the stabilization and housing of the Robert
L.Hazen Collection 1812 to 1873 and the housing of the
L.W. Bailey Collection of artifacts.
Leslie McDougall
Nova Scotia
Katerina Alda just finished a large project for a private
collector: the conservation of a Polish Navy flag from
WWII. She is also continuing work on other projects, for
Kings College and the New Brunswick Museum.
L'atelier accueille depuis juillet Marlène Roca, stagiaire
du Master en Conservation - Restauration des biens
culturels de l'Université de Paris 1-Panthéon-Sorbonne.
Elle travaille, entre autres, sur une sculpture en pierre
calcaire de l'église St-Anne-de-la-Pérade.
Isabelle Paradis, en collaboration avec Nathalie Richard,
a rédigé un article pour la revue Continuité, sur une
sculpture monumentale en terre-cuite du Collège
Dawson, à Montréal.
De nombreux projets ont également été réalisés en
collaboration avec d'autres ateliers tels que l'expertise de
la collection d'œuvres d'art public de l'UQAM, l'examen
des finis peints de l'église St-James à Montréal ou encore
la grande murale de Jordi Bonet de l'Université Laval.
Une formation sur la conservation des éléments
architecturaux
Ann Shaftel is busier than ever these days. 2011 began
with work in India, Bhutan and Nepal, followed by a
conservation project in the USA. Now Ann is working in
Nova Scotia leading a team of conservators working on a
large, double sided painted silk banner, as well as working
part-time as Archivist for the City of Halifax. Ann is also
teaching preservation training sessions, and conducting
preservation site assessments.
Une formation a été donnée aux professionnels des
directions régionales du ministère de la Culture, des
Communications et de la Condition féminine. Elle visait à
offrir aux professionnels en patrimoine du Ministère des
connaissances de base en matière de conservation des
composantes architecturales du patrimoine immobilier.
Les restaurateurs-formateurs (Mireille Brulotte, Isabelle
Paradis, France Rémillard, Bernard Vallée du CCQ ainsi
que Gina Garcia et Raynald Bilodeau, restaurateurs en
pratique privée) ont présenté un programme varié sur la
conservation de la brique, du bois, de la pierre, des finis
et des papiers peints.
Quebec
Metals and Stone Lab Update
Centre de conservation du Québec
The conservators in the metals and stone lab work
primarily on condition reporting, executing collections
surveys and carrying out conservation treatments of
monumental outdoor sculptural elements. In the last year
some of the more notable projects include the restoration
of the fountain of Tourny; the treatment of nine of the
bronze statues at the National Assembly (with the rest to
follow this coming summer) and completing collections
surveys of public art installations and publicly held
collections. The conservators in our lab also collaborated
extensively with our colleagues from other labs at the
CCQ and several conservators in private practice.
Together we completed a collections survey for the
Université de Québec à Montréal's collection of art
installations; an analysis of historic interior paint finishes
at the St-James cathedral in Montréal and Jordi Bonet's
enormous ceramic mural at the University of Laval.
Atelier métal-pierre
Les expertises et les restaurations de sculptures
monumentales extérieures sont devenues le travail
quotidien des restaurateurs de l'atelier métal-pierre, que
ce soit la fontaine de Tourny, les bronzes du Parlement,
divers monuments commémoratifs et œuvres d'art public.
Notre collègue Monique Benoit qui est maintenant
permanente depuis juin 2011, réalise de nombreuses
expertises sur des œuvres extérieures en métal et a
donné plusieurs formations sur l'entretien des monuments
extérieurs du Parlement de Québec et dans le cadre de
projets pilotes avec les municipalités de Trois-Rivières,
Sherbrooke et Saguenay.
14
In June of 2011 Monique Benoit was awarded a permanent position at the CCQ as a metals conservator. Her
main projects include producing numerous condition
reports and collections surveys for a variety of clients,
focusing on metal components such as outdoor sculpture,
monuments, commemorative plaques, and historical
collections held in churches and museums. In response to
high demand, Monique has taught four workshops this
year on the best practices for maintaining outdoor metal
sculpture with a special focus on bronze monuments and
commemorative plaques at the National Assembly in
Quebec City and for the cities of Trois-Rivières,
Sherbrooke and Saguenay (within the framework of a
government pilot project).
Isaballe Paradis, a conservator specialising in stone,
published an article with Nathalie Richard, conservator in
private practice, in the review Continuité. Their article
addressed the conservation treatment of the monumental
terra cotta statue from Dawson College in Montreal.
Isabelle also continues to work on collections surveys
and deepening her expertise in historic architectural
elements and ancestral homes.
This summer we were pleased to welcome Marlene
Roca, an intern from the Sorbonne's masters program for
the conservation and restoration of cultural objects. Her
principle internship project was the treatment of an
immense limestone sculpture from the church in SainteAnne-de-la-Pérade, but Marlene also treated some small
Inuit soapstone carvings, helped out with the maintenance of some bronze statues, and worked on research
pertaining to her thesis project.
Workshop on the conservation and restoration of
architectural elements
In June, the CCQ hosted a two-day long workshop for
the regional employees of the provincial ministry responsible for overseeing the preservation of Quebec's built
cultural heritage. The workshop taught the basics of
identifying materials commonly found in architectural
applications (wood, brick, painted finishes and wallpaper)
along with best practices for the continuing conservation
of these materials. The instructors of the workshop were
Mireille Brulotte, Isabelle Paradis, France Remilliard and
Bernard Vallée from the CCQ along with Gina Garcia
and Raynald Bilodeau, conservators in private practice.
retraite : d'abord Colombe Harvey, à la fin mars après
plus de 20 ans d'enthousiasme et de loyaux services.
Michèle Lepage a, quant à elle, travaillé avec
acharnement et excellence jusqu'au début septembre.
Elles ont toutes les deux choisi de commencer leur
retraite par un voyage, la première à Paris, la seconde à
Berlin. Dure réalité… pour nous, bien sûr, à qui elles
manqueront beaucoup.
En avril, Stéphane Doyon, un jeune diplômé de
l'université Queen's (2010) a été engagé pour un contrat
de longue durée et au début juin, c'était au tour de
Claude Belleau qui, après une carrière de plus de 20 ans
comme restaurateur au Musée national des beaux-arts
du Québec, a décidé de venir prêter main forte à l'équipe
dans les divers projets de longue haleine, en particulier en
sculpture ancienne.
Rappelons que les autres restaurateurs-trices sont :
Isabelle Cloutier, Stéphanie Gagné, Delphine Laureau,
Myriam Lavoie, Claude Payer et Marie-Chantale
Poisson. Les membres de l'atelier poursuivent des
travaux majeurs en sculpture ancienne, entre autres le
maître-autel de l'église Sainte-Famille de Boucherville, et
en art contemporain, en particulier en art public comme
par exemple une murale en céramique extérieure de
Jordi Bonet de 11m x 27m à l'Université Laval et des
œuvres du métro de Montréal.
Deux formations en conservation et entretien des œuvres
d'art public ont été données à la ville de Trois-Rivières.
Plusieurs heures de travail ont été également consacrées
à la rédaction de nouveaux textes pour le guide d'art
public qui est publié gratuitement en ligne sur le site du
CCQ.
Changing of the guard in the Sculpture studio at the
CCQ
Changement de la garde à l'atelier de sculptures
The year 2011 has been a major turning point in the
largest studio at CCQ (in terms of the number of conservators). Two "conservators emeritus" retired: first,
Colombe Harvey, in March 2011, after over 20 years of
enthusiastic and loyal service, and then Michèle Lepage,
in September of 2011. Michèle worked with total diligence and excellence up until the very final minutes!
Both began their retirement with travel: Colombe to
Paris, and Michèle to Berlin. Reality has been tough - for
those remaining behind, of course - we all miss them so
much!
2011 marque un tournant dans le plus grand atelier, le
plus grand en termes de nombre de personnes bien sûr.
Deux restauratrices émérites ont en effet pris leur
In April, Stéphane Doyon, a graduate of Queen's University (2010) was engaged on a long term contract, and in
early June, it was the turn of Claude Belleau. Claude, for
15
over twenty-years the in-house conservator for the Fine
Arts Museum of Quebec, decided to join the team at
CCQ in order to lend his elbow grease to some major
long term projects, particularly ancient sculptures.
Let us also recall the names of the other members of our
team: Isabelle Cloutier, Stéphanie Gagné, Delphine
Laureau, Myriam Lavoie, Claude Payer and MarieChantal Poisson. The members of the studio pursue their
work on ancient sculpture, such as the Master alterpiece
of the church of Sainte-Famille of Boucherville, as well
as important contemporary art projects such as an
exterior ceramic mural by Jordi Bonet (11m x 27m) from
Laval University and artworks belonging to, and situated
in, the Montreal Metro.
Two courses on the conservation and upkeep of public
art were given in the city of Trois-Rivières, and several
new texts were written for the Guide for Public Art
which is published and now available for free on the
CCQ website.
Atelier des peintures du CCQ
L'atelier des peintures du CCQ a eu la responsabilité du
sauvetage de l'immense murale (5 m de haut x 26 m de
long) de Serge Lemoyne L'art est un jeu au Casino de
Montréal. Élisabeth Forest était en charge du projet,
aidée de Bernard Vallée, restaurateur de mobilier au
centre de conservation, d'un ingénieur et d'un entrepreneur en construction. Un mur-test a d'abord été construit
afin de valider la méthode de renforcement et de
découpage du mur de gypse. Il a fallu, en effet, découper
la murale en huit parties, les mettre en caisse, les
descendre du 5e étage via la grue, pour les entreposer en
attendant la réinstallation de l'œuvre dans un autre lieu.
Chaque caisse pesant 7000 livres.
Cet été, nous avons accueilli deux stagiaires de
l'Université Queen's : Marilyne Beauregard et Emma
Perron. Elles ont, entre autres, participé à la documentation, au nettoyage et à la pose de cartonnage sur la
murale de Lemoyne au Casino de Montréal.
En prévision d'une exposition sur le peintre Jean-Baptiste
Roy-Audy (1778-1848), nous restaurons depuis quelques
années d'intéressants portraits de ce peintre. Ainsi le
Portrait de Michel Landry a été traité par Rachel
Benjamin. Éloïse Paquette a restauré un Portrait
d'homme et le Portrait de l'abbé Blanchet. Marilyne
Beauregard a traité un Saint Joseph du même peintre.
Nous essayons de faire analyser au moins la préparation
des peintures anciennes afin de constituer une banque de
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données qui pourra servir en cas de besoin
d'authentification dans le futur.
Michael O'Malley a terminé le traitement d'un tableau
très ancien conservé au Monastère des Augustines
depuis le 17e s. Tout le quart supérieur droit de ce
tableau anonyme intitulé Mère Madeleine de SaintJoseph avait brûlé dans un incendie. Grâce à une
gravure ancienne de ce tableau, il a été possible de
reconstituer cette partie manquante. Michael a aussi
traité une oeuvre du peintre caravagesque français,
Trophime Bigot (1579-1650), Nuit de Noël conservée au
même musée.
Un des plus importants tableaux du Québec, La Sainte
Famille de l'église du même nom à l'île d'Orléans, peint
par Frère Luc lors de son court séjour en NouvelleFrance (1670-71), a été traité par Élisabeth Forest,
Rachel Benjamin et Sylviane Gaume. Sylviane s'est jointe
à l'atelier des peintures en mai 2011.
Colette Naud restaure un tableau de Laurent Guyot
(1756-1808) intitulé Les ermites de la thébaïde; ce
tableau avait été coupé en deux au 19e s. Les 2 parties
seront réunies dans les prochaines semaines. MarieCatherine Cyr a nettoyé une partie de ce tableau avant
son départ pour le Musée des beaux-arts du Canada.
Sophie Roberge a traité un tableau très connu de
Théophile Hamel (1817-1870), le Portrait de Gustave et
Hermine Hamel, conservé au Musée national des beauxarts du Québec et un des tableaux des Sept Sacrements
attribué à Crespi dont la série est conservée au Musée
de Joliette.
Éloïse Paquette a restauré deux tableaux du 17e siècle
du musée McCord: ce sont les portrait de mariage du
Baron Charles Le Moyne de Longueuil ainsi que de son
épouse Élisabeth Souart d'Adoncourt. De plus, cette
année, Éloïse a répondu deux fois à l'appel du AIC pour
aller au Centre de sauvetage des biens culturels, en Haïti,
traiter des oeuvres endommagées lors du séisme de
janvier 2010.
Paintings lab, CCQ
The paintings lab at the CCQ has been responsible for
the rescue of an immense mural painting (5m in height
and 26m in length), entitled Art is a Game, by the
Quebecois artist, Serge Lemoyne. This immense painting
was painted directly onto a curved drywall expanse at
the Casino of Montreal in 1993 and recent renovations at
the Casino necessitated its removal and temporary
storage. Élisabeth Forest directed this complex project,
with the collaboration of Bernard Vallée, as well as an
engineer and a building contractor. Due to the enormity
of the painting, a test-wall was first constructed so as to
validate methods to be used during the reinforcing and
sectioning of the real artwork into eight huge pieces.
Finally, the wall could be dismantled section by section,
each of which weighed 7000 lbs! The crates were
transported for temporary storage until the mural is
installed at a new site.
Two interns from Queens University graced the paintings
studio with their presence throughout the summer:
Marilyne Beauregard and Emma Perron. They participated in the mural project at the Casino of Montreal,
carrying out documentation, surface cleaning and application of protective facings to the painting by Lemoyne.
Sophie Roberge has restored a well-known painting, the
Portrait of Gustave and Hermine Hamel by Théophile
Hamel (1817 - 1870), belonging to the MNBAQ, as well
as one of a series of paintings representing the seven
sacraments, after Crespi, belonging to the Joliette
Museum.
Éloïse Paquette has treated two pendant portraits
belonging to the McCord Museum, Baron Charles
Lemoine de Longueuil and his wife Élisabeth Souart
d'Adoncourt. This year she also responded to a call by
AIC for volunteers to work in Haiti at the Rescue Centre
for Cultural Works. She went twice to Haiti to treat
artworks damaged during the earthquake of January
2010.
Atelier de textiles
A series of paintings by the 19th century painter, JeanBaptiste Roy-Audy (1778 - 1848) has been restored in
preparation for an up-coming exhibit of the artist's work.
Portrait of Michel Landry is being treated by Rachel
Benjamin; Éloïse Paquette has treated Portrait of a
Man and Portrait of Abbot Blanchet; and Marilyne
Beauregard restored a Saint-Joseph during the summer.
Samples were analysed from Roy-Audy's paintings, both
to enrich the existing data base of the painter's technique
and to provide a basis upon which to authenticate other
works in the future, should the need arise.
Michael O'Malley has finished the treatment of a very
old painting, Mother Madeleine of Saint Joseph
(anonymous), belonging to the Monastery of the
Augustines in Quebec City since the 17th century. A
large section of the upper right corner was lost to fire,
but thanks to a contemporary engraving of the picture,
Michael was able to reconstitute it. He has restored the
Nuit de Noël by Trophime Bigot (1579 - 1650), also
belonging to the Monastery of the Augustines.
One of Quebec City's oldest and most important paintings, the Holy Family from the church of the same
name, on the Island of Orleans near Quebec City, was
painted by Frère Luc during his short stay in New France
in 1670-71. It was treated by Élisabeth Forest, Sylviane
Gaume and Rachel Benjamin. Sylviane Gaume joined the
team at CCQ in May of 2011.
Colette Naud is restoring a painting by Laurent Guyot
(1756 - 1808), entitled Hermits of the Thebaïde; the
painting was been cut into two pieces during the 19th
century and, happily, they will be reunited over the coming
weeks. Marie-Catherine Cyr cleaned part of this painting
prior to her departure for the National Gallery of Canada.
Depuis janvier 2011, l'équipe de l'atelier textile se compose de quatre personnes : Nicole Charley, Rachel
Dessaints, France-Éliane Dumais et Louise Lalonger.
Nous avons pu réaliser des traitements de restauration
sur des objets très variés comme des textiles
archéologiques provenant de l'épave du Elizabeth and
Mary (1690), des tapisseries contemporaines Aubusson
des années 1960 (Ville de Montréal) et même une
banderole politique de Maurice Duplessis datant de 1948
(Musée québécois de culture populaire, Trois-Rivières).
En 2008, la Fabrique de Saint-Joseph-de-Beauce avait
confié à l'atelier de textiles la restauration de deux draps
mortuaires provenant d'un grand catafalque à baldaquin
des années 1920. Cette année, la Fabrique a reçu le prix
«Coup de cœur du patrimoine 2011» remis par le Conseil
de la culture de la région de Québec et ChaudièreAppalaches pour la reconstitution et la restauration de
cet ensemble exceptionnel.
Louise Lalonger coordonne un projet de «Glossaire
visuel» qui sera présenté sur le site web du CCQ. Cet
outil vise à aider les employés des musées qui ont à
rédiger des constats d'état en leur fournissant des mots
de vocabulaires, des définitions et des images associées
selon les types d'objets. La demande a été adressée au
centre par le SSIM (Service de soutien aux institutions
muséales) du gouvernement du Québec.
Textile Lab
Since January 2011, the textile lab has consisted of four
members: Nicole Charley, Rachel Dessaints, FranceÉliane Dumais and Louise Lalonger.
17
Conservation treatments were carried out on a wide
variety of objects, such as archaeological textiles from
the Elizabeth and Mary shipwreck (1690), contemporary
Aubusson tapestries woven in the 1960s (belonging to the
City of Montreal) and even a 1948 Maurice Duplessis
political banner (Musée québécois de culture populaire,
Trois-Rivières).
In 2008, the parish council of Saint-Joseph-de-Beauce
entrusted the textile lab with the conservation of two
funeral draperies from a large canopied catafalque dating
from the 1920s. This year, to celebrate the restoration of
this exceptional suite, the parish council received the
prize "Coup de cœur du patrimoine 2011" presented by
the Conseil de la Culture de la Région de Québec et
Chaudière-Appalaches.
Louise Lalonger is heading up a project for a "Visual
Glossary" which will be featured on the CCQ Website.
This tool aims to help museum employees required to
write condition reports by providing them with vocabulary, definitions and associated images grouped according
to types of objects. The creation of the glossary was
requested by the SSIM (Service de Soutien aux Institutions Muséales) of the Quebec government.
Laboratoire des oeuvres sur papier
De grands changements ont eu lieu dans le laboratoire
des œuvres sur papier ces derniers temps. Après de
nombreuses années de service au Centre de Conservation du Québec, Suzanne Holm et Denise Allard ont pris
leur retraite en 2010. Francine Gauthier, qui avait
temporairement quitté le laboratoire pour occuper un
poste de restauratrice au Musée national des beaux-arts
du Québec, est retournée au CCQ en septembre 2010.
Elle a pris la tâche de représentante d'atelier et a aidé à
réorganiser et réaménager le laboratoire. Un important
achat a notamment été fait, celui d'une table lumineuse
faite sur mesure de 7'x 5', capable d'être inclinée
verticalement. Francine Gauthier prendra sa retraite au
mois de décembre prochain.
Jane Dosman, arrivée au CCQ au printemps 2009, après
avoir réalisé un Mellon Fellowship d'un an au Conservation Centre for Art and Historic Artifacts à Philadelphie,
a repris la tâche de représentante du laboratoire le mois
dernier. À cette nouvelle équipe se sont jointes Marie
Trottier, qui était auparavant restauratrice au Centre
Canadien d'Architecture à Montréal et Patricia Bufe, qui
était restauratrice à Bibliothèque et Archives Canada,
dans le laboratoire des dessins et estampes.
Au mois d'octobre dernier, Marie Trottier a assisté au
18
symposium: Adhésifs et consolidants pour la conservation : Recherche et applications, organisé par l'ICC
à Ottawa, qu'elle a trouvé très instructif.
À l'été 2010, Jane Dosman a mis à jour ses
connaissances en retouche des œuvres, en assistant au
cours intitulé Mastering Inpainting organisé par Debra
Evans et James Bernstein à Shepherdstown, Virginie.
Elle a également assisté à la conférence de l'AIC à
Philadelphie au mois de mai dernier. Enfin, un des grands
projets sur lequel travaille le laboratoire en ce moment
est la réalisation de capsules archivistiques; articles
courts disponibles sur le site web du CCQ et créés au
départ à l'intention du Regroupement des services
d'archives privées agréées du Québec (RSAPAQ). Le
contenu de ces capsules se concentre sur différents
aspects détaillés de la conservation du papier mais aussi
des photographies ou encore des supports numériques.
Paper Lab
There have been some big changes in the paper lab this
past while. Both Susanne Holm and Denise Allard have
taken their retirement after many years of service to the
CCQ. Francine Gauthier, who temporarily left the lab to
fill in a position at the Musée national des beaux-arts du
Québec, returned to the CCQ in September of 2010 to
provide direction to new staff and to help reorganize and
update the lab. One big purchase was a custom-made, 7'
x 5' light table that is able to be vertically inclined.
Francine will be taking her retirement this December.
Jane Dosman, who came to the CCQ in the fall of 2009
after spending a fellowship year at the Conservation
Centre for Art and Historic Artifacts in Philadelphia, will
take over as the representative of the lab. Other new
staff include Marie Trottier, formally of the Canadian
Centre for Architecture in Montreal, and most recently
Patricia Bufe, who previously worked at Library and
Archives Canada in Ottawa.
This past October Marie attended the symposium
Adhesives and Consolidants for Conservation:
Research and Applications hosted by CCI in Ottawa
which she found to be very informative. Last summer
Jane updated her knowledge on retouching by attending
the Mastering Inpainting course held by Debra Evans
and James Bernstein in Shepherdstown, West Virginia.
She also attended the AIC conference in Philadelphia this
past May. One current project on which the lab is
working are the Capsules Archivistiques, short articles
available through the CCQ website, which focus on
detailing different aspects (tools, materials, etc) of paper
conservation, photographs, and digital prints.
Parcs Canada, Centre de services du Québec
Les préparatifs du déménagement de la Gare Maritime
avancent à grands pas. D'une part, le travail d'emballage
des collections ethnologique et archéologique tire à sa fin.
D'autre part, le personnel qui travaillait autour des
collections à la Gare - archéologues, conservatrices, etc.
- est lentement relocalisé pour être associé à d'autres
équipes de travail. Il en va de même pour le personnel
du service de conservation-restauration et nous avons le
grand bonheur d'être relocalisés au Centre de conservation du Québec (CCQ). Nous pourrons poursuivre notre
travail sur les collections et ainsi répondre aux besoins de
nos clients, dont les principaux sont les Lieux historiques
nationaux (LHN) de Parcs Canada sur le territoire du
Québec. Nous espérons être à nouveau fonctionnels
d'ici la fin de l'année. Nous sommes très reconnaissants
à nos collègues du CCQ de nous accueillir avec autant
d'enthousiasme!
Many projects have been completed this year including
adding nine free-standing stainless steel shelves to the
stationary shelves that limited the use of space in the
Archives storage vault. The early assessment rolls
(1853-1920) of the former towns/cities and municipalities
that now form the City of Toronto were reviewed and rehoused in over 75 custom boxes to better protect the
fragile ledgers prior to being housed in standard storage
boxes.
Currently, the Conservator is busy creating mounts and
helping with the matting and framing for a new exhibit, A
World of Music: Celebrating 90 Seasons with the
Toronto Symphony Orchestra, which opens on November 15, 2011. The Archives acquired the Toronto Symphony Orchestra collection in 2009.
Sarah van Maaren
Goldsmith Borgal & Company Ltd. Architects
Nous ne perdrons pas contact, nous gardons nos
numéros de téléphones et courriels actuels.
Preparations for our move from the Gare Maritime site
are quickly moving along. Packing of the archeological
and ethnological collections is almost complete. Little by
little, everyone involved with the collections - archeologists, curators, etc., - are being integrated into other work
teams elsewhere. The conservation team is very pleased
to announce its imminent relocation to space within the
Centre de conservation du Québec (CCQ). We will be
able to pursue treatment of our clients' collections,
primarily of the LHN of Parks Canada throughout the
territory of the Province of Quebec. We hope to be up
and running again sometime between now and the end of
the year, thanks to our colleagues at CCQ who are
receiving us with great enthusiasm!
We won't lose contact, either, as we are retaining the
same telephone numbers and e-mail addresses as before.
Kateria
Ontario
Toronto Area
City of Toronto Archives
Last year Sarah van Maaren, a graduate of the Collections Conservation and Management program at Fleming
College, became the full time Conservator at the City of
Toronto Archives.
After nine months of parental leave, Fiona Graham has
returned to Goldsmith Borgal & Company Ltd. Architects where she continues to provide conservation
services to the museum and heritage community. One of
her current projects involves the development of maintenance procedures for decorative metalwork at the
Legislative Assembly of Ontario. In another project, she
observed the use of dry ice blasting for removing paint
and corrosion products from monumental bronze light
standards.
Fiona Graham
Ottawa Area
Renewal and Renovation at the CMCC
The face(s) of the Conservation Team at the CMCC has
changed somewhat over the last years. As of mid
August 2011 Wanda McWilliams (CAC Councillor)
assumed the role as Head Conservation and Preservation
joining the Conservation Team consisting of Paper
Conservator Amanda Gould, Ethnographic and Archaeological Conservator Caroline Marchand, Object Conservators Emily Lin and Jennifer Ann Mills (CAC Secretary) and Textile Conservator Julie Hughes. Much
needed and appreciated additional support over the
summer and fall months has been provided by Anne
Macdonnell in the Paper Conservation Lab (filling in for
Amanda during her Maternity Leave with Amanda
returning in January 2012), and Margaret Champaigne
and Rebecca Latourell (CAC Membership Chair), who
have been hired through an agency contract are busily
19
engaged in various labs and preventive conservation
tasks, including closing out the fourth year of a four year
project to re-house the Inuit print collection into standardized protective storage enclosures. In the New Year we
look forward to welcoming the successful incumbents to
the newly established term positions of Preventive
Conservation Technician with the CMC, and the Conservator position at the CWM.
Learning innitatives at CMC include Sibil Kepéklian who
arrived in September from the University of Paris 1
Panthéon-Sorbonne, as part of her Masters degree in
Conservation. Sibil will complete her six month Internship under the supervision of Caroline and will treat a
series of ethnographic objects as an introduction to the
unique preservation needs of materials such as quills,
baleen and bark. The CMCC Aboriginal Training
Program in Museum Practices in now in its 18th year!
Wahsontiio Suzanne Cross belongs to the Kanienke'ha:ka
nation from Kahnawake Mohawk Territory, QC., and will
complete a five week placement in Conservation Section.
Wahsontiio specializes in First Nations visual culture will
be introduced to the pivotal role of Conservation and
Preservation, supporting her goals to work in a larger
museum and eventually develop an arts-focused museum
exhibition space and collection facility in her community.
By the New Year Algonquin College Applied Museum
Studies Program Students Caitlyn Picard and Sara
Greenaway will be with us to complete their third year
Internship placements.
be preparing the newly-selected artifacts for installation
when the space re-opens, forecast for March 2013.
CMCC is also planning for the expansion of their artifact
storage space within the Parc Laurier complex (Curatorial Building) by creating an infill floor, above an existing
collection room currently housing the Archaeological
Survey of Canada collection (ASC). The infill will create
a new collections storage room at the 6th floor level and
provide approximately 140,000 cubic feet of new and
much needed storage space, representing an increase of
nearly ten percent of the Museum's existing collection
storage. This will allow for collections to be reorganized
and future growth. To maximize capacity, the space will
be equipped with mobile shelving. This project will also
see some renovation within the existing ASC Collection
space below, including the provision for an expanded
visitor and research area, as well as new mobile shelving.
It is hoped that the project can be approved and construction commence early in 2012 with the completed
rooms handed over to Collections Management (John
Staunton, Head) later that year.
Wanda McWilliams
Work ahead at CMCC includes the usual abundance of
tasks associated with caring for Collections, preparing
artifacts for Loans and Exhibitions and other core
activities; but with the added scope and challenge
associated with moving into a new phase of physical
renovation and renewal.
For example, a number of permanent galleries are being
renewed, including the renovation of the interiors of the
six First Nations houses comprising the shoreline "village"
in the Grand Hall. These houses will undergo renovation
to enhance visitor experience and permit the renewed
exhibition to incorporate changes in technology and
museum staging, and the addition of a number of important recently acquired artifacts. A new passageway will
be constructed, connecting the interiors of all six houses.
Lighting and other systems will be improved and new
ramps installed. Throughout this 16-month refurbishment
Conservation staff will seize the opportunity to re-assess
and clean objects which have been on display in locations
difficult to access, and to perform any required stabilization treatments which might be required before their
return to storage (or back again to exhibit!). We will also
20
Conservators Emily Lin and Jennifer Ann Mills perform annual
assessment and cleaning of Mythic Messenger, one of three
CMCC outdoor installations.
Conferences and Training - Congrès et formation
Divine Disorder, Conserving the Chaos: Conference on the Conservation of Folk and Outsider Art
Scientific Analysis of Photographs
Natchitoches, Louisiana
February 15-16, 2012
A Collaborative Workshop in Photograph Conservation
Indianapolis, Indiana
June 12-15, 2012
For more information visit
<URL:http://ncptt.nps.gov/divine-disorder>
<URL:http://www.conservation-us.org/
.cfm?fuseaction=page.viewpage&pageid=1599>
TechFocus II: Caring for Film and Slide Art
Cleaning of Acrylic Painted Surfaces (CAPS)
Washington DC
April 27-28, 2012
London, UK
3-6 July 2012
<URL:http://www.conservation-us.org/courses>
<URL:http://www.getty.edu/conservation/our_projects/
education/sci_series/caps_tate_wkshp.html>
The Conservation of Material Culture in Tropical
Climates
The 3rd APTCCARN Meeting
23-25 April 2012
Nakornpathom,Thailand.
<URL:http://www.20thcpaint.org/event3dAPTCCARN.jsp?subPage=call>
Conference on Copying, Replicating and Emulating
Paintings in the15th-18th Century
Copenhagen, Denmark
21-22 May 2012
<URL:http://www.smk.dk/cats-conference>
European Painted Cloths 14th - 21st centuries:
pageantry, ceremony, theatre and domestic interior
London, UK
5 June 5, 2012
2nd International Conference on Chemistry for
Cultural Heritage
Istanbul, Turkey
July 9-12, 2012
<URL:http://www.chemch2012.org>
12th International Congress on the Deterioration
and Conservation of Stone
New York, NY
22-26 October 2012
<URL:http://www.arch.columbia.edu/school/section/
programs/resources-and-opportunities>
International ceramics conference
Jingdezhen, Jiangxi, China
23-27 October 2012
Contact Pamela Vandiver <[email protected]>
with questions.
<URL:http://www.courtauld.ac.uk/researchforum/
events/2012/summer/EuropeanPaintedClothsC14thC21st.shtml>
21
'The Real Thing?': The Value of Authenticity and
Replication for Investigation and Conservation
Research Network for Textile Conservation, Dress and
Textile History and Technical Art History.
Glasgow, Scotland
December 6-7, 2012
<URL:http://tinyurl.com/3t3typr>
Conservation in the Nineteenth Century (CiNC)
Copenhagen, Denmark
May 13-16, 2013
The conference program and information about fees and
registration will be posted at the end of 2012 at
<URL:http://www.natmus.dk/CiNC>
Membership Renewal
May we remind you that your CAC membership fees
are due for renewal on January 1, 2012. Membership
fees for 2012 are:
Nous aimerions vous aviser que vos frais d'adhésion de
l'ACCR doivent être versés le 1er janvier 2012. Les
frais d'adhésion pour 2012 sont :
regular:
institutional:
student:
supporting:
$85
$170
$30
more than the applicable
category
Non-residents of Canada add $20 (USA) or $30
(outside Canada and the USA) for postage.
individuel :
institutionnel :
étudiant :
membre bienfaiteur :
85$
170$
30$
montant supérieur à la
cotisation pour sa catégorie
Pour les membres résidant à l'extérieur du Canada,
veuillez ajouter le montant suivant afin de couvrir les
frais de poste : États-Unis : $20 ; ailleurs : $30.
Late fee after February 28, 2012: $10
Frais supplémentaires après le 28 février 2012 : 10$
22

2011 Dec CAC Bulletin.p65 - Canadian Association for Conservation

Transcription

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