Conservation

Our conservators work to reduce decay, and to stabilize and examine objects, from archaeological finds and paintings to textiles and natural history specimens. An important principle is preventive conservation, which involves preventing and reducing future damage to cultural heritage objects before it occurs. This is done through good routines for storage, handling, transport and security, as well as control of light, climate and pests, without altering the object itself.

Many objects are made up of several materials. Our conservators therefore work across disciplines, together with researchers, exhibition staff and others.

Conservation is divided into cultural history conservation – of archaeological finds, paintings, textiles and paper – and natural history conservation of zoological, botanical and geological objects. The living collections in the museum gardens have their own conservation work; see 'Conservation of threatened species'.

Archaeological conservation is about looking after objects recovered through archaeological investigations. The materials are metal, stone, ceramics, bone, wood, textile and leather, ranging from the Stone Age to the Middle Ages. Newly excavated objects are unstable when they come up, and must be secured so that their source value is not lost.

The conservators treat new material in collaboration with the Section for Cultural Heritage Management, re-conserve older collections, and carry out preventive conservation. X-ray photography is used to map condition and reveal ornamentation and technical details.

Painting conservation covers paintings and polychrome (painted) sculptures. The conservators work with many supports – paper, textile, wood panels and mural painting – and techniques such as oil, watercolour, pastel, gouache and fresco. Because pigments and materials have different durability, the works suffer damage and decay over time.

The work ranges from cleaning and stabilizing craquelure to retouching and framing, with methods adapted to each work.

Textile conservation covers objects made of textile and other organic materials. The collections mainly consist of natural fibres from plants and animals, but also fur, leather, feathers, bark and bast. Textiles are easily broken down by light, unfavourable climate conditions, and biological and chemical factors, and are therefore among the most vulnerable materials.

The most important task is preventive work, that is, ensuring good light and climate conditions. The conservators also document and research the objects, using fibre analysis, among other methods, to examine the material.

Graphic conservation covers art on paper, cultural history material such as wallpaper, cards and letters, as well as photography, books, film, and sound and data media.

The work includes cleaning, wet and chemical treatments, and repairs. Some objects cross disciplines – for example, herbaria are conserved in collaboration with a natural history conservator.

Natural history conservation covers the museum's natural history objects: zoological, botanical and geological objects, in both dry and wet collections. Many of the objects date from the 19th century. The aim is to slow decay and prepare the objects for exhibition.

The conservators work mostly with preventive conservation, and advise on storage and field conservation. The objects are often made up of several materials, so they work closely with specialists in metal, textile and painting.

Conservation of threatened species

The living plant collections in the museum gardens form part of a dedicated conservation effort for threatened and rare species.

Conservation of threatened species