The Monkey Photograph, Before and After

The treatments are finished!  This is the eighth in a 12-part series on selected conservation treatments of artwork and photographs.  "Preserving a Family Collection" concludes on August 31.

Front of photo, before.

Of all the items we brought in for treatment, I think this tiny photograph may have been in the saddest state of all.  Only slightly larger than a postage stamp, the photo was thoroughly crumpled and a corner had been ripped off, only to be pasted back on by Scotch tape – the bane of conservators everywhere.

Back of photo, after.

Tiny though it is, this picture means a lot to my sister and I because it’s the only physical memento of a favorite family story.  When our father was stationed in Shanghai in 1945/46, he was told that it was his duty as quartermaster to care for the monkey.  Since he had his own room as quartermaster, he was expected to share it with the monkey.  My sister remembers

that he never said anything nice about the monkey – a likely indication that they never became particularly close.  When they sailed from Shanghai, the monkey stayed behind to become the charge of the next quartermaster.

Back of photo, after.

Treating this photo was a two-person job at the Conservation Center for Art and Historic Artifacts.  Rachel Wetzel, Photograph Conservator, used a heated spatula to remove the tape and then got rid of any remaining adhesive residue with a little organic solvent and a crepe square.

Then Barbara Lemmen, Senior Photograph Conservator, received the photograph in two pieces, no longer attached by the tape.  Barb pieced it together with some wheat starch paste, adding a layer of warm and dilute photographic gelatin over the crack to help consolidate it.  She meticulously inpainted the areas of loss, using a stipple technique of little dots that appear
                                                                 as a harmonious tone from a normal

Front of photo, after.

viewing distance. 

It’s a real thrill to recover this picture and now we even have it in two versions.  We have the original, now in better condition than we’ve ever seen it before.  And we have a digitized image by Michelle Dauberman, Manager of Digital Documentation, that enables us to view this 65+ year old picture enlarged and close up on a computer screen – or even to post it on a blog.  Our family’s legendary monkey is fully visible at last!

Art Price with monkey in Shanghai, circa 1945, before treatment.

Art Price with monkey in Shanghai, circa 1945, after treatment.

© 2011 Lee Price

Working with Professionals

Much of the work involved in preserving a family collection can be done by the dedicated amateur.  But there are certain tasks – like conservation treatment – that should be left to trained professionals.  Plus, there are times when you may want some professional advice.  When you need a pro, here are some places to call:

Regional Conservation Centers:  I work for one so (naturally!) I’m listing them first.  There is a network of 11 nonprofit regional conservation centers in the United States that offer expertise in the fields of conservation and preservation.  Some of these centers offer services to individuals and some don’t.  It never hurts to call.  Here’s a

Contact and Locations list of the regional centers along with a few other organizations that offer preservation expertise, courtesy of the Regional Alliance for Preservation.  I work for the Conservation Center for Art and Historic Artifacts (Philadelphia, PA), which serves the Mid-Atlantic region and specializes in paper and photograph conservation treatment.  We would take your call.

Private conservators:  Many conservators have established private practices that are usually focused on their particular specialty (so there are textile conservators, object conservators, painting conservators, etc.).  Most professional conservators are members of the American Institute for Conservation of Historic and Artistic Works (AIC).  To find a private conservator, I’d recommend using AIC’s easy-to-use “Find A Conservator” tool. 

Digital Imaging Specialists:  This emerging field is still in the process of developing a set of professional standards.  Michelle Dauberman, the Manager of Digital Documentation at the Conservation Center, notes that you should look for someone with a background in digital photography and/or graphic design.  “Both photographers and designers utilize Adobe Photoshop heavily and can effectively apply their graphic art skills to restoration work,” she says.  “The most significant thing to look for when seeking digitization or restoration help would be a solid portfolio of work.  Ask to see samples of what they’ve worked on.”  If you like what you see, chances are that they’ll do a good job for you, too.