The Art Gallery of Nova Scotia has a fully equipped conservation laboratory. Operational since 1980, it is designed for the in-depth treatment of paintings as well as preventive conservation on other objects within the permanent collection. The discipline can be broken down into two main areas: prevention and treatment.
PreventionPrevention focuses on providing an environment conducive to the well-being of all works of art according to recognized standards within the museum world. The retrofit of the Dominion and Provincial Building, both of which now form the Art Gallery of Nova Scotia, ensures these standards are met with regard to temperature and relative humidity. Integrated lighting systems and climate controlled vaults further serve to minimize the influence of detrimental physical forces over the long term.
TreatmentConservation treatment includes the examination, documentation, research, and technical expertise required to ensure a work of art maintains physical stability while respecting the aesthetic intended by the artist. This requires the conservator to follow ethical standards set down by the profession and adherence to the principles of reversibility and minimal intervention.
The Art Gallery of Nova Scotia strives to provide public awareness and outreach to artists, school groups, and the public about the conservation of fine art objects through articles, special conservation-related exhibitions, extended labels, and lectures.
Conservation Spotlights
Conserving Elizabeth Styring Nutt’s
Autumn on the Northwest ArmFour Seasons: Four Paintings | On view May 3-September 7, 2010
The impetus for this small installation of Elizabeth Nutt’s four seasonal paintings of the Northwest Arm was the completion of a long-term conservation treatment of her Autumn view, created by the artist in 1927 during her 24-year tenure as principal of the Victoria College of Art and Design (now NSCAD University). Though the mystery surrounding its poor condition when the work came into the Gallery’s collection in 2001 remains unresolved, the satisfaction gained from returning this painting to a state close to that intended by the artist is immeasurable, especially given that prospects for success at the beginning stages seemed bleak. The process of recovery is documented by Senior Conservator, Laurie Hamilton, in a pamphlet accompanying the exhibit.
Conserving Mary Riter Hamilton's painting
The Return Home
Dated 1919, this poignant work signals the
start of this artist’s three-year journey to paint the battlefields of
Europe after WWI as commissioned by the War Amps of Canada. This work
was purchased with funds generously provided by the estate of Caroline
Radcliffe Nelles.
Mary Riter Hamilton Conservation Panel [pdf]