Conservation

Conservation

Underpinning every aspect of Museum activity is the work of conservators. Their understanding of the diverse materials from which ethnographic artefacts are made is vital. As well as conserving artefacts, they must advise on the control of Museum environment, prevent insect attack without deploying dangerous pesticides, and oversee the safe packing of artefacts for international loan or safe storage.

The case studies on this page document the work of the Museum conservators who are responsible for safeguarding the 300,000 artefacts in the Museum's collections for the future.

Conservators at the Pitt Rivers use a variety of techniques to stabilise, preserve and slow down the further deterioration of ethnographic objects. Techniques can include analysis of materials and historical research. These scientific approaches are coupled with an awareness of the sensitivities of originating communities. It is the job of the conservator to recognise and interpret the types of deterioration present in objects and to preserve them using the minimum amount of intervention.

Conservators working with ethnographic objects use detailed examination to help objects tell their own stories. Determining the life history of an object informs the conservators' decision making. Does the presence of dirt or damage to an object result from original use, or has it occurred during its time in the Museum? Are existing repairs the product of later alterations or has the originating community made them? Ethnographic conservators have to make tricky ethical decisions. If a method of repair performed by an originating community is now causing deterioration of the object, is it justifiable to remove it?

Repairing the kimono oni figure (1964.1.2.5)

Edo oni figures

These two Japanese figures stand just over 1m tall, have small horns, red skin and only four digits on each hand and foot. Over time, the paint layer had began to peel and the kimono was very fragile with considerable damage. Over 50 hours of conservation work were carried out on one of the two figures, and over 140 hours spent specifically on the kimono, before the clothed figure was stable enough to be redisplayed.

Metal braid of Balabhadra (1894.28.3) before conservation

Jagannath figures

These figures of the three gods in the Jagannath Temple in Puri are unusual because they are made of painted wood rather than marble or metal. The figures' clothing and paper crowns had become fragile and torn. The three figures needed over 200 hours of conservation work between them.

A hooded jacket (1925.11.3) after conservation

Intestine garments

Among the objects in the Arctic Clothing display in the Museum's court are three beautiful examples of seal intestine clothing: two parkas and a cape. Unfortunately, past treatments and repairs, insect damage, and poor storage and display techniques had caused the garments to become fragile and vulnerable. Two members of the conservation team spent just over 200 hours conserving the three intestine garments.

Detail of feather bundles in cloak (1886.1.1637.4)

Tahitian mourner's costume

The Tahitian mourner's costume was collected on Captain Cook's second voyage of discovery (1772–5). The feather cloak of the costume was very fragile, having suffered from numerous moth infestations over the years. The conservation of the complete costume took 200 hours.

Stroud cloth on war bonnet (1954.8.140) with felted wool gap-fill

Lakota war bonnet

This war bonnet was made by the Oglala Lakota, one of the tribes comprising the 'Great Sioux Nation'. Over time, many of the materials had begun to deteriorate and weaken due to damage caused by insect attack and the accumulation of dust. The conservation of the war bonnet took nearly 150 hours of treatment and research.

Detail of European wool decoration on cloak (1886.1.1132)

Māori cloaks

Māori cloaks are considered treasures (or 'taonga') within the Māori community, as they continue to hold the mana, or prestige, of their previous owners. Of concern for the long-term preservation of a number of the cloaks is the natural breakdown and fragility of the dyed black fibres. It took two conservators 96 hours to complete the condition survey and storage upgrade for the Māori cloaks.

Noh theatrical masks

The Pitt Rivers Museum holds a collection of 52 masks, which were used by the Kongo Noh School for many years. Many of the masks had suffered from shrinkage of the wood resulting in cracking. A total of 102 hours of conservation work was completed on the mask collection by one conservator. Some masks took as little as 45 minutes, while one took 22 hours.

Detail of willow shaving layers (inau) on quiver (1910.68.12)

Ainu hunting quiver

While the quiver was being assessed in the conservation department, it became apparent that the object had numerous signs of wear and repair that suggested its long-term use. A total of 126 hours was spent working on the quiver: 26 hours on conservation treatment and 100 on research.

Detail of the neck of shirt (1893.67.5) before conservation

Blackfoot shirts

These hide shirts are examples of traditionally made garments. Condition assessments were made for each shirt and similar problems were found. The combined conservation treatment time to prepare all five shirts for travel was 303 hours.