Thaw Conservation Center's blog

This is a guest post by Lindsey Tyne, Conservation Librarian, NYU Libraries

Ashley Bryan (1923–2022) used colored and hand-painted papers cut into the shapes of people, ships, water, land, and sky to create the collages that fill the pages of Sail Away, 2015, as printed images. When these eighteen collages (2021.25:1–18) entered the collection of the Morgan Library & Museum in 2021 as a gift of the Ashley Bryan Center, I was drawn to the rich colors and textures of the collage papers and immediately recognized one paper, Canson Mi-Teintes®, by its distinctive honeycomb texture.

This post was created by Lindsey Tyne, Associate Paper Conservator

The gold, silver, red, and blue flakes that give Standing Together, 1986 (2018.105) by Luster Willis (1913–1990) its seductive sparkle are commonly known as glitter. Many of us instinctively know what glitter looks like and may even recall a childhood craft project or a greeting card we recently received, despite the fact that how glitter is made and what it is made of are trade secrets.

In anticipation of the upcoming exhibition Bound for Versailles: The Jayne Wrightsman Bookbindings Collection, on view June 25 through September 26, 2021, our conservators from the Thaw Conservation Center took a close look at techniques used in creating these elaborate works of art.

Several of the drawings included in Édouard Vuillard: Sketches and Studies come from sketchbooks spanning the artist’s entire career with dates as early as the 1890s to the 1930s. This exhibition provides the unique opportunity to learn about Vuillard’s preferred sketching materials. While preparing the drawings for installation, I looked for connections between them, with particular attention to similarities and differences in the physical evidence.

The Morgan’s collection includes a significant number of Coptic Christian manuscripts made in Egypt and dating from the fifth through the eleventh centuries. The Coptic collection is notable for its texts and illuminations as well as for a large group of early covers and binding fragments important in the history of bookbinding.

Over 900 objects relating to Maurice Sendak’s (1928–2012) stage designs for The Magic Flute, The Cunning Little Vixen, Love for Three Oranges, The Nutcracker, and an opera based on Where the Wild Things Are arrived at the Morgan in 2013 as part of the artist’s extraordinary bequest. For many of us, the magic of Sendak’s books, in particular Where the Wild Things Are, live vividly in the memories of our childhood. It is thus both a delight and an honor to create a safe home for these wonderful objects.

An earlier post discussed some of the traditional colors that appear in the Morgan’s block books. In most cases, the hand-applied colors are typical of the dyes and pigments seen in the Middle Ages and Renaissance. However, a few unexpected pigments were discovered during the study of these fifteenth-century books, enabling a better understanding of how some of them were changed over the centuries.

The Morgan owns the largest collection of block books in North America and they were some of J. Pierpont Morgan’s earliest acquisitions. These are books in which both the images and the text are carved from a single woodblock, hence the term block book.

When looking at a medieval manuscript, it is often the illuminations that catch the eye—colorful figures rendered in miniature, gleaming gold backgrounds, ornate initials that twirl and bloom across the margins. But beyond the illuminations, and even beyond the text, the substrate itself merits closer inspection.

The Morgan Library & Museum holds a collection of fifty-seven Persian and Indian album leaves acquired by J. Pierpont Morgan from Charles Hercules Read in 1911. These leaves are collectively known as the Read Albums and are broadly divided into two groups, Persian (MS M.386.1–.21) and Indian (MS M.458.1–.36).