Conservation of the figurines was initiated in the spring of 2005. Prior to treatment the conservation staff met with Harvard University Art History and Archaeology professors to determine the most appropriate treatment strategy. In the end, techniques commonly used to conserve polychrome wood sculptures from Europe, Santos sculptures, and panel paintings were employed.

First, the surfaces were cleaned to remove dirt and grime from storage. Cleaning was only superficial since some of the residual soot-like grime could have resulted from their prior location in spaces or scenes where candle or oil lighting was used in their proximity.

A figurine half cleaned

Light surface cleaning was accomplished using cotton swabs and weak enzymatic solution in combination with distilled water.

The flaking paint was consolidated with a solution of isinglass adhesive( fish gelatin), which was chosen for its strength, stability, and its aesthetic compatibility.

Conservators consolidating paint

Finally, select areas of gesso loss were filled with calcium carbonate in a polyvinyl acetate emulsion binder and toned with gouache paints. Major losses for which design elements could not be confirmed or predicted were left unfilled.

Images show two male figurines before and after treatment (roll over image to see after treatment)

Acknowledgements

We would like to thank the people who generously offered their knowledge and advice on this project:

T. Rose Holdcraft from the Peabody Museum at Harvard University , Narayan Khandekar and Henry Lie from the Straus Center for Conservation, and Professors Tom Cummins and Gary Urton from Harvard University.