ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management1 Dudley, Dorothy H.,, Wilkinson, Irma Bezoid, and Others. Museum Registration Methods. 3rd Ed.

งานนำเสนอเรื่อง: "ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management1 Dudley, Dorothy H.,, Wilkinson, Irma Bezoid, and Others. Museum Registration Methods. 3rd Ed."— ใบสำเนางานนำเสนอ:

1 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management1 Dudley, Dorothy H.,, Wilkinson, Irma Bezoid, and Others. Museum Registration Methods. 3rd Ed. Washington, D.C.: Amercian Association of Museums, 1979

2 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management2 Basic procedures 2. Incoming and outcoming material 11 In general, objects are received in a museum for study or examination; as purchases, gifts, or bequests for the permanent collection; as loans for special exhibitions; or as extended loans to the museum for long-term, sometimes indefinite, use. For whatever reason an object comes to a museum, the registrar has several responsibilities in receiving the new material. 3. The Registration of objects

3 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management3 Accession File ( 30) The first accession records should include the following information: Accession number Date received Date accepted Source of acquisition (purchase; gifts; bequests; expedition, including field number; etc.)

4 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management4 Accession File Artist, maker, cultural group, species Title and/or description Date or period Exact measurements Condition Purchase price Insurance value (optional) Date recorded and initials of recorder

5 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management5 The Catalogue card ( 31) …cataloguing is a curatorial function Accession number Catalogue number (if different from accession number) Artist, maker, cultural group, species Provenance Marks (labels, seals, etc.)

6 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management6 The Catalogue Date or period Title and/or description Medium or material Source of acquisition (purchase; gifts; bequests; expedition, including field number; etc.) Date received Date accepted

7 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management7 The Catalogue Insurance value (optional) P urchase price Photograph and/or negative number or sketch of object Location and description of signature Exact measurements Condition

8 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management8 The Catalogue P ublications or references History (ex-collections, exhibitions, etc.) Date catalogued and initials of cataloguer

9 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management9 4 Measuring and marking objects (58) Ceramic objects: The number is applied in paint or ink, with a protective overcoat, in an inconspicuous place not likely to be worn by handling and not obscuring any marks…The number is placed on the bottom, inside the lip, or near the bottom on the outside. Or the number is placed on the base, inside the rim of the foot. Care must be taken to place the number where it will not be scraped as the piece is set down or moved. If necessary, the number can be placed near the lower edge of the back. Potsherds are marked on the side without decoration. Pottery pipes are marked on the bottom of the bowl or, if broken, on the inside surface

10 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management10 4 Measuring and marking objects on the pipestem end. (61) Manuscripts and Documents: The number and an ink- stamped identifying symbol are generally placed on the written or blank side of the document. For a complete information, see the Library of Congress’s Preservation Leaflet 4, Marking Manuscripts (62) prints: The number is marked in pencil, lightly, on the reverse, preferably on a lower corner in the margin. If the print is hinged in a mount, the number is placed on the unhinged end. The mount, or mat, is also numbered and, if framed, the frame is marked as for paintings.

11 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management11 Basic procedures 5. Storage and Care of Objects

12 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management12 Basic procedures 6. Loans from Museum collections

13 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management13 Basic procedures 7. Packing and Shipping

14 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management14 Basic procedures 8. Importing and exporting

15 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management15 Basic procedures 9. Insurance

16 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management16 Basic procedures 5. Storage and Care of Objects

17 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management17 Jones, Betsy B. A Procedure for acquiring objects, including partial gifts, at the Museum of Modern Art (201-204)

18 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management18 Kennedy, Winifred. A Classification System for Art Objects (205-207)

19 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management19 Majewski, Lawrence J. Classifying Paintings, Drawings, and Prints by Media, with a Note on Classifying Construction (208-218)

20 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management20 Classifying Paintings, Drawings, and Prints by Media Drawings The classification of drawings usually involves the type of material used as a pigment rather than a vehicle or medium with which pigments are mixed. There are, then, drawings in pencil, pen and ink, brush and ink, charcoal, crayons of colored wax, colored chalks, points of metals such as silver, gold, and lead, and sometimes paint…. Occasionally a drawing is complex enough that the result might be referred to as a painting, as in the case of pastel drawings by Degas and Lautrec. Technically, however, when a dry-pigment process is used, that is, when the coloring substance is rubbed into the ground or support, the result should referred as a drawing. The classification of works in pastel as drawing or paintings is more or less a matter of opinion. Thus, in this classification, pastel is listed as a type of painting as well as a drawing medium.

21 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management21 Classifying Paintings, Drawings, and Prints by Media Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso), 1508-12 Made by Michelangelo Buonarroti (Italian, Caprese 1475 - 1564 Rome) Italian Purchase, Joseph Pulitzer Bequest, 1924 (24.197.2)

22 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management22 Classifying Paintings, Drawings, and Prints by Media Ia Orana Maria (Hail Mary), 1891 Paul Gauguin (French, 1848– 1903) Bequest of Sam A. Lewisohn, 1951 (51.112.2)

23 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management23 Classifying Paintings, Drawings, and Prints by Media Graphic Arts The term “graphic arts” is in general use for designating all processes for the production of multiple-proof pictures on paper on a handmade basis, the work being done either wholly or for the most part by the original artist and the editions limited. The processes are also referred to as printmaking and the resulting pictures as prints. In classifying prints it is important to know something about the various processes in use today…The four types are relief, intaglio, planographic, and stencil.

24 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management24 Harty, Marcia Cittis, Vilcek, Marica and Rhyne, Brice. Cataloguing in the Metropolitan Museum of Art, with a Note on Adaptations for Small Museums (219-227)

25 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management25 Cataloguing in the Metropolitan Museum of Art, with a Note on Adaptations for Small Museums (220) …The accession number 53.19.2 signifies that the item was acquired in 1953, that it was part of the nineteenth transaction of the year, and was the second item n that particular transaction. Classification by material arranged alphabetically as follows: Arms and Armor Ceramics (porcelain, pottery) Coins Costumes Drawings and Watercolors (221) Enamels Fans Glass Horology

26 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management26 Cataloguing in the Metropolitan Museum of Art, with a Note on Adaptations for Small Museums Ivories Lacquers Lapidary work Leatherwork Medals and plaquettes Metalwork (brass, bronze, gold, silver, etc.) Miniatures Musical instruments Natural substances (amber, straw, wax, etc.) Paintings Sculpture Silhouettes Textiles (embroideries, laces, tapestries, woven, etc.) Wallpapers Woodwork (architectural, furniture)

27 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management27 Buck, Richard D. Inspecting and Describing the Condition of Art Objects (237-244)

28 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management28 Inspecting and Describing the Condition of Art Objects (240-244 Concise Glossary of Terms Used to Describe Condition of Works of Art Crack: a fracture or fissure in any surface, especially a paint film. No loss is implied Mold, Mildew: a large group of small fungi, the vegetative structures of which invade many organic substances. Pentimento: literally, repentance or a change of mind; in a painting, a visible evidence of an early design below a revised design…. Soil: a general term denoting any material that dirties, sullies, or smirches an object. Grime: soil tenaciously held on surfaces Tear: a break in fabric, paper, or other sheet material as a result of tension or torsion.

29 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management29 www.art-conservation.org mold

30 ดร. จิตติมา อมรพิเชษฐ์กูล Museum and Gallery Management30 Water damage www.art-conservation.org