British Museum blog

Conservation mounting of Picasso’s 347 Suite

Christina Angelo, Conservation Mounter of Western Art on Paper, British Museum

When the Museum receives new acquisitions to its collection of prints and drawings, either through gifts or purchased through special funds, it is of the upmost importance that they are cared for appropriately for future generations to enjoy. This is why my role as a conservation mounter is so vital. I’m one of three British Museum conservation mounters who specialise in western art on paper. Mounting enables prints and drawings to be handled safely by staff, and visitors to the Prints and Drawings Study Room, without risk of damage to the objects. It also facilitates the option to frame if another institution requests to borrow an object as part of our on-going exhibition programme. All the mounts are made of the highest museum-quality mount board and all the materials we use are tested by our department’s scientists to ensure they won’t damage the artwork over time. In order to maximise space for storing this huge collection of prints and drawings, standard size mounts are used which are then stored in Solander boxes in the Study Room.

Over the years I’ve seen and mounted some of the most interesting and outstanding works of art in our collection, from Leonardo da Vinci to Tracey Emin, and this year is no exception. Over the last few months I’ve been very privileged to have been part of the team involved in the mounting of Picasso’s 347 Suite, aptly named because there are 347 prints. This important collection was funded by generous donor Hamish Parker, and in the autumn 2015 edition of the British Museum Magazine, Stephen Coppel, Curator of the Modern Collection, explained the fascinating story of how they were produced.


With so many prints requiring mounting, the new studios in the World Conservation and Exhibition Centre (WCEC) have come into their own. It makes my job so much easier using the specially designed space and new equipment we now have. Initially Stephen Coppel and I discussed the mounting of the Picasso prints. Once we agreed on a plan it was full steam ahead for the team. After the prints were measured the mount board was cut to the standard sizes on the board chopper.


Every print’s platemark was measured carefully as they all varied in size in preparation for cutting the mount’s apertures on our new computerised electronic mount cutter, before the mounts were assembled together.

The prints were now ready to be secured into their mounts using handmade Japanese paper, which we use for its longevity and fibre strength, and a fine layer of water soluble adhesive that can be easily removed by conservators if necessary in the future.


To give the prints added protection whilst inside their Solander boxes, a sheet of polyester was hinged inside the mount which covers the front of the print.


Finally to give the mounts their unique British Museum touch, Picasso’s name and the print’s identifying number were stamped on the front of each mount using our handheld typeset tools and etching ink which have been standard practice at the museum since the 19th century.


After several months the project is now complete. I will miss the prints as they have been a talking point with our numerous visitors and museum professionals who come to the studio to see the work we do. The prints are safely stored in their Solander boxes in the Study Room waiting for researchers to view them, and to mark the completion of this successful team effort, from both curators and conservation staff, we all had a celebratory drink to honour the occasion.

Filed under: British Museum, Conservation, , ,

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 16,381 other followers


Follow @britishmuseum on Twitter

British Museum on Instagram

Our #SunkenCities exhibition is the first at the British Museum on underwater archaeology. Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. 
At the mouth of the Nile, the city of Thonis-Heracleion flourished as the main entry point into Egypt. Underwater excavations have found a large harbour, numerous ships and anchors, proving this was an international port. This magnificent monument was crucial to revealing that Thonis (in Egyptian) and Heracleion (in Greek) were in fact the same city. The decree was issued by the pharaoh Nectanebo I, regarding the taxation of goods passing through Thonis and Naukratis. A copy was found in the main Egyptian temple in each port. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis. 
Learn more about the connections between the ancient civilisations of Egypt and Greece in our #SunkenCities exhibition - until 30 November. Follow the link in our bio to find out more about it. 
Stela commissioned by Nectanebo I (r. 378–362 BC), Thonis-Heracleion, Egypt, 380 BC. On loan from National Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation. For centuries nobody suspected that Thonis-Heracleion and Canopus lay beneath the sea. Recorded in ancient writings and Greek mythology, the cities were believed to be lost. After sightings from a plane, a diving survey was organised in 1933 to explore submerged ruins. But it was only from 1996, with the use of innovative techniques and a huge survey covering 42 square miles of the seabed, that underwater archaeologists rediscovered the lost cities. 
Thonis-Heracleion and Canopus were thriving cities long before the foundation of the great port of Alexandria in 331 BC. Finds suggest that they were still inhabited into the AD 700s. The cities’ disappearance was caused by gradual subsidence into the sea – much like Venice today – coupled with earthquakes and tidal waves. This triggered a phenomenon known as land ‘liquefaction’, when the ground turns into liquid. 
This reconstruction shows what the port of Thonis-Heracleion could have looked like, dominated by the Temple of Amun-Gereb. Follow the link in our bio to book your tickets to our #SunkenCities exhibition. © Yann Bernard. © Franck Goddio/Hilti Foundation. Recent underwater excavations at the mouth of the Nile in Abukir Bay, Egypt, have revealed two ancient cities, perfectly preserved beneath the sea. Our #SunkenCities exhibition tells of the extraordinary rediscovery of the international port Thonis-Heracleion, and the city of Canopus, famed for their temples which attracted religious devotees from Egypt and beyond. 
Since 1996, underwater investigation using state-of-the-art technology has uncovered spectacular objects, including colossal statues, religious offerings and ancient ships. The finds shed new light on the interaction between ancient Egypt and the Greek world at a crucial period in their history, from the arrival of Greeks in Egypt around 650 BC, to the reign of the Greco-Macedonian Cleopatra VII, the last pharaoh of Egypt (51–30 BC). With only a fraction of these sites explored so far, annual excavations are continuing to uncover the cities’ long-hidden secrets. 
This 2,000-year-old bust depicts Neilos, the Nile river god. Neilos appealed to Egyptians and Greeks alike – he was the Greek version of Hapy, the Egyptian personification of the annual Nile flood that brought prosperity and fertility to the land. This bust was once mounted into a large decorative shield and adorned a temple in the ancient Egyptian city of Canopus. It was discovered by underwater archaeologists at the base of the wall on which it once hung. 
Follow the link in our bio to find out more about our unmissable exhibition. 
Bust of Neilos. Canopus, AD 100–200. On loan from Maritime Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation. This astonishingly detailed miniature altarpiece has been photographed by @micahfoundaquarter. Made in 1511 in the Netherlands, it’s only 25cm tall but contains incredibly intricate carvings that show Christian religious scenes in triptych form (in three parts). Aside from the masterful craftsmanship, this object is notable for its use of both Gothic and Renaissance stylings. It offers an insight into the spread of ideas and styles into northern Europe from the birthplace of the Renaissance, Italy.
Share your photos with us using #myBritishMuseum
#carving #Gothic #Renaissance #Netherlands #detail This photo by @ozemile captures the pensive expression of Marsyas, a figure from Roman and Greek mythology. Marsyas was a satyr, male companions of the Greek god of wine, Dionysus (Roman: Bacchus). Among other things they were associated with playing the aulos, an ancient type of wind instrument. In this Roman statue, Marsyas is portrayed making the fateful decision to pick up the pipes that had been invented and discarded by the goddess Athena. Later, he accepted a musical challenge against Apollo’s lyre (a small harp-like instrument). Unfortunately for Marsyas, he lost, and suffered a grisly demise for daring to challenge a god!
Share your photos with us using #myBritishMuseum
#Roman #statue #Greek #sculpture #mythology We’re highlighting some of our favourite photos taken by visitors. Don’t forget to share your photos with us using #myBritishMuseum. Here’s a great shot of the Discobolus – that means ‘discus thrower’ – by @everyjoon. The photo captures the majestic scale of the athlete, and his dynamic pose. Sculpted during the 2nd century AD in Roman Italy, the statue is in fact a copy of a Greek bronze original, made around 700 years earlier. It was found in Hadrian’s villa at Tivoli, near Rome. Among other things, it is famous for having a head that doesn’t belong to the original body. The head is very close in age and style, and uses marble that is exceptionally well-matched to the torso, but it has been attached at the wrong angle! Complete statues from the time reveal the head to be turned to look towards the discus, rather than the floor.
#Discobolus #sculpture #Roman #Greek #statue #discus
%d bloggers like this: