Conservation Portfolio by Maria Castaneda

Maria Castaneda Delgado Cultural Heritage Conservator Portfolio

Personal Statement As part of my education and professional experience, I have had the opportunity to work to preserve and study different types of objects. This diversity of projects has allowed me to learn how to apply the ethical principles in a critical way, taking into consideration different contexts and artifacts. I believe that conservation is best achieved through communication between conservator and stakeholders of cultural heritage. In this sense conservation is a collective endeavor, that takes into account the material dimension of the objects as well as its intangible values.

Resume Maria Castaneda Delgado Cultural Heritage Conservator 1055 Avenue Bernard, Apt. 4 Outremont, Quebec. H2V1V1 (343) 988 3269 mcd.maria@gmail.com Language Skills Speaks, reads and writes fluently in Spanish and English. Italian (Writing level B2, Oral communication level C1). French (Level B1) Professional Conservation Experience Paper conservator. City of Ottawa Archives. Ottawa, Canada. June 1st – 26th, 2018 Surface cleaning, pest, and mould remediation of documents and related archival objects in quarantine. Book Conservator. Library and Archives Canada Preservation Centre, Gatineau, Canada. January-May, 2018 Paper Conservator Intern. City of Ottawa Archives. Ottawa, Canada. October – November, 2017 Conservation treatment of nineteenth entury document relevant to the City of Ottawa. Minor treatments on architectonic plans of the Hydroelectric plant of the City of Ottawa. Contractor. City of Ottawa Archives. Ottawa, Canada. July – September, 2017 2

Surface cleaning, pest, and mould remediation of documents and related archival objects in quarantine. Paper Conservation Assistant. UBBINK – Book and Paper Conservation; Ottawa, Canada. May 11th – 12th, 2017 Assistance in conservation treatments of paper objects. Research Assistant/Laboratory Analyst. Cultural Heritage Department, Laboratorio de Análisis y Diagnóstico del Patrimonio (Laboratory of Analysis and Diagnostics of Heritage) - Colegio de Michoacán A.C.; La Piedad, Mexico. November 2015 – June 2016 Assist to the development of non-invasive imaging techniques for colonial canvas paintings. Use of analytical techniques for determination of pigments, binders, and coatings used in colonial and modern paintings in dialogue with chemists and art historians. Writing and presenting reports to clients of analysis results, and conservation recommendations based on the nature of painting or sculpture. Head of conservation project. Sculptural series “Vía Láctea” (Milky Way) by Mathias Goeritz. Escuela de Conservación y Restauración de Occidente (ECRO) – Instituto Cultural Cabañas (ICC); Guadalajara, Mexico. August 17th – October 26th 2015 Teacher, Restoration and Conservation course. B.A. in Fine Arts, Secretaria de Cultura de Jalisco at Instituto Cultural Cabañas; Guadalajara, Mexico. August – December 2015. Teaching Restoration and Conservation history and theory to Fine Arts students. Responsible of syllabus design, program, student tutoring, lecturing and grading.

Conservator, Volunteer. Chemistry Faculty “Ugo Schiff” at the University of Florence (UniFi); Florence, Italy. June - July 2014. Application of hydrogels and other materials developed by researchers at the faculty for varnish removal on artworks on paper and canvas. Paper Conservation Intern. Ignacio Díaz-Morales Archive, ITESO Library “Dr. Jorge Villalobos Padilla, S.J.” - Escuela de Conservación y Restauración de Occidente (ECRO); Guadalajara, Mexico. September - October 2014. Metallic artifacts Conservator, Student. “Museo de la Ciudad” Collection. Escuela de Conservación y Restauración de Occidente (ECRO) and; Guadalajara, Mexico. December 2013- January 2014. Metallic artifacts Conservator, Student. Escuela de Conservación y Restauración de Occidente (ECRO); Guadalajara, Mexico. November 2013 Conservation and restoration of 10 iron and bronze medals. Preventive Conservation Intern. Museo Nacional de Arte (MUNAL); Mexico City, Mexico. August 2013 Measure, log and report exhibition conditions at the museum. Examination of photographic works for the exhibit “México a través de la fotografía” (Mexico through photography). Asses and document through condition reports the state of conservation of the permanent Mexican painting collection from 16th to 20th century. Paper Conservator, Student. “Curso de Teologia Moral”, Private Collection/ 17th Century Book. Escuela de Conservación y Restauración de Occidente (ECRO), Guadalajara, Mexico. . June- July 2013.

Paper Conservator, Student. “Fondo Cristero Reguer” Archive, ITESO Library “Dr. Jorge Villalobos Padilla, S.J.” - Escuela de Conservación y Restauración de Occidente (ECRO); Guadalajara, Mexico. June 2013. Paper Conservator, Student. José R. Benítez, University of Guadalajara Collection - Escuela de Conservación y Restauración de Occidente (ECRO), Guadalajara, Mexico. March- April 2013. Laboratory Analyst Intern. Cultural Heritage Department, Laboratorio de Análisis y Diagnóstico del Patrimonio artístico (Laboratory of Analysis and Diagnostics of Heritage), Colegio de Michoacán A.C.; La Piedad, Mexico. February 2013. Use of microscopic and spectroscopic (FT-IR) techniques to characterize artistic materials used in Mexican art from 16th to 18th centuries. Assist on the creation of a referential material database. Sculpture Conservator, Student. “Cementerio de Cristos” Collection. Escuela de Conservación y Restauración de Occidente (ECRO); ex-convent of Tzinztuntzan, Mexico. November 2012. Conservator, Student. Escuela de Conservación y Restauración de Occidente (ECRO); Guadalajara, Mexico. May- July 2012. Collection inventory, cataloguing and preventive conservation project proposal for the Medical History Museum, private collection at the “Unidad de Patología Clínica”. Contemporary Art Conservator assistant. Fundación Kraepellin A.C.; Guadalajara, Mexico. February- June 2012 Assist on private collection management. Execution of specific storage packaging for graphic works, canvas 3

paintings, sculptures, mixed media collages and textiles. Condition reports, inventory and catalogue activities. Canvas Painting Conservator, Student. “Virgen del Rosario” by Pedro López Calderón. Escuela de Conservación y Restauración de Occidente (ECRO) and “San Sebastianito” Church; Guadalajara, Mexico. September 2011- July 2012.

Research stay: “Recupero di antiche tecnologie messicane per lo sviluppo di prodotti sostenibili per il restauro dei beni culturali” (Recovery of antique mexican techniques for the development of sustainable materials for cultural heritage conservation). Agenzia Nazionale per le Nuove Tecnologie, L’Energia e lo Sviluppo Economico Sostenibile (ENEA); Rome, Italy. May 30th - June 9th 2016 Bookbinding

Conservator. “M-alva Talleres de Conservación y Restauración” MALVAPrivate conservation workshop; Guadalajara, Mexico. April- September 2011 Mural Paintings Conservator, Student. Mausoleum at “Belén” Cemetery. Escuela de Conservación y Restauración de Occidente (ECRO); Guadalajara, Mexico. June 2011. Mural Paintings Conservator, Student. Private house “8 de julio”. Escuela de Conservación y Restauración de Occidente (ECRO); Guadalajara, Mexico. November 2010. Ceramic objects Conservator, Student. “La Higuerita” Project. Escuela de Conservación y Restauración de Occidente (ECRO) and Instituto Nacional de Antropología e Historia (INAH); Guadalajara, Mexico. March- July 2010 Ceramic objects Conservator, Student. “Mario Collignon de la Peña” Collection. Escuela de Conservación y Restauración de Occidente (ECRO) and Instituto Nacional de Antropología e Historia (INAH); Guadalajara, Mexico. June 2010 Research Stays 4

Co-owner of “Las Ramonas Colectivo” studio, specialized in bookbinding for private sector and artisanal production of notebooks. Guadalajara, Mexico. Website: https://www.facebook.com/lasramonas.co/ March 2015- To present. Education MA Art History, Fine Arts Faculty, Concordia University. September 2018- to date BA Cultural Heritage Conservation, Escuela de Conservación y Restauración de Occidente (ECRO), Guadalajara, Mexico. 2009-2014. Graduated with honors, thesis defense on December 4, 2017: Characterization and Identification of Indigo Blue Used as a Pigment in Colonial Paintings (Original title in Spanish). Exchange program: “Diagnostica e Materiali per la conservazione e il restauro,” University of Florence, Italy. February-June 2014. Extra-Curricular Courses and Workshops Symposium “Problems and diagnostics of constructive systems with metals.” ENCRyM-INAH; Mexico City, Mexico. November 2013 Editorial workshop “A book can be about anything.” TRAMA, Guadalajara, Mexico. November 2011.

Workshop “Processos de filtragem.” Architecture Faculty, University of Minho; Guimaraes, Portugal. July 2011. Publications Castañeda, M. (2019). “El índigo en la Pintura de caballete novohispana: mecanismos de deterioro,” Intervención 10(19), January-June: 25-36. Castañeda, M.; Gómez, M.; Quintero, D. (2013). “Cementerio de Cristos.” Memorias del X Foro Académico de la ECRO: Restauración, la interdisciplina en práctica. Guadalajara, Jalisco. Online: http://www.ecro.edu.mx/ pdf/ memorias_x_foro/3-Diego%20et%20al.pdf Barba, R.; Campos, R.; Castañeda, M.; García, A. (2012). “El Restaurador como detective: el caso de la Virgen del Rosario de Pedro López Calderón.” Memorias del IX Foro Académico de la ECRO: Ciencia, Creación y Restauración. Guadalajara, Jalisco. Online: http://www.ecro.edu.mx/pdf/pdf_memorias/ maria_castaneda.pdf

Castaneda, M.; Zuccolotto, A. (2012). “Conservation treatments on the mural paintings at the Central Mausoleum of the Belen Cemetery”. VIII Foro Académico de la ECRO. Guadalajara. 2011 Associations Secretary of the Art History Graduate Student Association (AHGSA), Concordia University. (September 2018- to present) Vicepresident of the Conservation Student Association (SA), Escuela de Conservación y Restauración de Occidente. (October 2012- October 2013) Software Skills -Microsoft Office: Word, Excel and Power Point -Adobe Creative Suite: Illustrator, Photoshop and InDesign -CaptureOne Image Editor -Spectrum: Perkin Elmer FT-IR software

Talks at Conferences and Meetings Castaneda, M. and A. Meza. (2016). “An integral model of studies and conservation of cutural heritage: The sculpture collection at Tzintzuntzan, Michoacan.” Italy-Mexico bilateral meeting on Heritage Science, Italian Institute of Culture, February 2nd and 3rd, Mexico City. Castaneda, M. (2014) “Il diagnosta for the Academy and the Conservator for il cantiere. A reflection on the conservation academic systems in Italy and Mexico.” XI Foro Académico de la ECRO, Guadalajara. Castaneda, M.; Gomez, M.; Quintero, D. (2013). “Cemetery of Christs, dissociation as a main risk.” X Foro Académico de la ECRO. Guadalajara. Castaneda, M.; Garcia, A. (2012). “The conservator as a detective: the case of the Rosary Virgin by Pedro López Calderón.” IX Foro Académico de la ECRO. Guadalajara. 2012

Rare book conservation/ Library and Archives Canada (LAC) Gatineau, Quebec. January-May, 2018 Conservation and restoration work more than 20 items from LAC’s rare books collection. These included: Judaica (fifteenth – sixteenth centuries); Prime Ministers’ (nineteenth and twentieth centuries). Department of Indian Affairs 1910-11.

TREATMENTS Binding treatments: ¤ Superficial cleaning ¤ Board reattachment with paper and leather. ¤ Corner repair with paper and leather. ¤ Leather spine replacement ¤ Paper spine replacement ¤ Re-sawing. ¤ Leaves rea-attachment to textblock ¤ Endband replacement Textblock/ paper treatments: ¤ Tear repair. ¤ Full leave backing ¤ Washing in bath and with gellan gum ¤ Pulp infills. ¤ Sizing. Media treatments: ¤ Iron (II) test. ¤ Solubility tests. ¤ Temporary fixing with Cyclododecane. ¤ Preventive conservation: ¤ Housing design: clam shell boxes. ¤ Book cradles with vivak. 6

Before treatment.

After treatment. The spine was covered with new leather, preserving the remains of the original, and boards were re-attached.

Book cradles

“Indian Affairs Ledger” with mould damage before treatment.

Book cradles with vivak were tailored made for books on LAC exhibitions. “Indian Affairs Ledger” after treatment. Full leave backing with japanese tissue and wheat starch paste.

Avicenna, Naples / Library and Archives Canada (LAC) Gatineau, Quebec. January-May, 2018 Judaica Collection.

The book before treatment. It had been heavily intervened in the past (modern binding and repairs with acidic thick paper).

Bifolium before treatment.

After the book was unbound each leaf was washed individually (right). Infills were made with pulp in the leaf-caster. 8

Bifolium after treatment.

Some folios had losses of almost 40% of the support. This was one of the main challenges.

Book after treatment. Because the majority of the leaves in the book had been cut into single pages in the past, it was decided to not re-saw and re-bound the book.

One of the leaves was washed separately with gellan gum, in order to de-acidify the repair paper.

Parcel 17 / City of Ottawa Archives Internship. Ottawa, Ontario. October â&#x20AC;&#x201C; November, 2017 Documentation: Photographic and details in microscope. Solubility tests. Iron (II) Testing. Pressure sensitive tape removal: backing with hot air and adhesive with solvents on suction table. Flattening. Repairs with japanese paper and gelatin type B. Encapsulation Before treatment.

After treatment. 10

Details of pressure sensitive tape removal. Backing was removed with hot air and spatula on the verso. The adhesive was removed with solvents on suction table from the recto.

Technical Analysis / Paintings Research Assistant/Laboratory Analyst. Laboratorio de Análisis y Diagnóstico del Patrimonio - Colegio de Michoacán A.C. La Piedad, Mexico. November 2015 – June 2016 Non-invasive imaging techniques: Infrarred Photography and Infrarred False-Colour imaging. X-Ray Fluorescence (XRF) (handheld). Infrared Spectroscopy with Transformed-Fourier (FT-IR) Scanning Electron Microscope with Energy Dispersive X-Ray Spectroscopy (SEM-EDS).

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Micro-sample of blue pictorial layer of novohispano painting. Optic microscope microphotograph (a) and SEM image (b). EDS spectra (c) with elemental analysis from area 3a on sample. Research part of my thesis entitled: Characterization and Identification of Indigo Blue Used as a Pigment in Colonial Paintings.

Reflected light

False-Color Infrarred Image

Infrarred

La Anunciación a San Joaquín y a Santa Ana, ca. 1670, Antonio de Arellano. Regional Museum of the city of Querétaro.

“Vía Láctea” by Mathias Goeritz/ Outdoor scultpure series Head of conservation project. Escuela de Conservación y Restauración de Occidente/ Instituto Cultural Cabañas; Guadalajara, México. August 17th – October 26th 2015 Project conception and execution of conservation treatments for 27 outdoor sculptures made between 1968-1970 by artist Mathias Goeritz, for the exhibition “Mathias Goeritz. Formas/ Soluciones/ Temas” at the Museum “Instituto Cultural Cabañas.” Project funded by the State of Jalisco. The project proposal included state of conservation of the collection, conservation treatments, budget and schedule of the works. Personal responsibilities as head of the project’s execution included leading teamwork of 8 conservators and two groups of contractors. As well as technical and ethical decision making; developing communication strategies for conservation-restoration laboratory opened to museum’s public and planning of exhibition and storage conditions along with museum’s curatorial team.

“Vía Láctea” (Milky Way) originally exposed at the Middelheim Museum in Antwerp.

The conservation-restoration treatments that took place were: Documentation Assesment of state of conservation (internal and external) Estratigraphic analysis of coatings Salt identification (Corrosion products) Draining Internal cleaning, desalination and passivation Coating removal: sandblasting Welding of steel plates where needed Putty application Application of coating Preventive conservation plan regarding storage space, transportation, exhibition and handling of the pieces. 14

Artist Mathias Goeritz with one of the stars that compose “Vía Láctea”

“Vía Láctea” pieces in storage before restoration.

Detail of corrosion in areas where the coating had been lost.

Left: Estratigraphic analysis of diferent coating layers under optic microscope (10x).

Documentation process included photographic registry before and after restoration.

Images taken with digital videoscope of the interior of the pieces. Left: Mud and oxide on the plate’s surface. Right: Corrosion products already detached from metal’s surface. 15

On-site conservation laboratory at the premises of the “Instituto Cultural Cabañas”, UNESCO protected building. Screenshot taken from video made to be exhibited in loop in order to show museum’s visitors conservation treatments that had already taken place. 16

Cleaning and desalination with alcaline solution of the interior of one of the sculptures, this treatment was necessary on 11 scultpures out of the 27 due to the presence of chlorides.

After sandblasting, the loss of weld points in the joints on some of the sculptures became visible.

Autogenous welding was carried out on points for structural reinforcement where needed and to mend the ruptures.

Coating process for each scultpure: 1. Result after sandblasting. 2. Application of polyester putty and sanding. 3. Application of grey epoxic primer. 4. White polyester coating, final result.

AFP

@culturamural

dad en un paso peatonal de la antigua Carretera al Aeropuerto, en Bangalore, India. Baadal es conocido por sus instalaciones de conciencia cívica que provocan la vergüenza de las autoridades de las ciudades de Bangalore y Mysore.

Roban ‘turistas’ un Rodin Un busto de Auguste Rodin con valor de más de 300 mil dólares fue robado de un museo de Copenhague por ladrones que se hicieron pasar por turistas, reporta la versión en línea del Daily Mail. mural.com/cultura

VIERNES 21 / AGO. / 2015 / cultura@mural.com / Editor: José Armando García

Hace 75 años fue asesinado el comunista León Trotsky en Coyoacán.

Preparan exposición por centenario de Goeritz

Mónica Delgado

Restauran acervo

z Ayer se inauguró en París la Décima Muestra de Arte Grupo REFORMA con las piezas seleccionadas en los concursos.

Exhiben en París arte mexicano

El público podrá ser testigo, desde septiembre, de los trabajos a realizar MURAL / STAFF

Inauguran la Décima Muestra de Arte Grupo REFORMA MÓNICA DELGADO

Michelle Freyría

Para celebrar el centenario del pintor y escultor Mathias Goeritz, la Secretaría de Cultura de Jalisco (SC), el Instituto Cultural Cabañas (ICC) y la Escuela de Conservación y Restauración de Occidente (ECRO) realizan un proyecto de conservación de su obra gráfica y escultórica, que pertenece al acervo del ICC. El artista naturalizado mexicano, de origen alemán, será celebrado en noviembre con muchas de estas piezas intervenidas, las cuales formarán parte de una exposición especial del Cabañas. Los trabajos de restauración y conservación comenzaron el 17 de agosto y se extenderán hasta el 17 de octubre, estarán abiertos al público en general a partir de septiembre, y las restauradoras encargadas del proyecto son María Castañeda Delgado, encargada de la obra escultórica, y Miriam Limón Gallegos, a cargo de la obra gráfica. Mathias Goeritz vivió en Jalisco alrededor de tres años, su estancia fue breve, pero su trabajo dejó una herencia permanente.

z Trabajadores y alumnos de la ECRO restauran la colección de Mathias Goeritz.

“La obra que se va a intervenir es sumamente significativa y nos permite apreciar parte de ese legado que nos compromete a preservarlo para las futuras generaciones”, dijo Alejandro Canales Daroca, director de la ECRO. En el anuncio, Olga Ramírez Campuzano, directora del Instituto Cultural Cabañas, dio a conocer que la conservación de estas piezas ya se realiza en

un par de talleres del ICC. Una de las colecciones que será intervenida es la obra gráfica que resguarda el ICC y que consta de 82 piezas elaboradas sobre papel y cartulinas con técnicas, como el carboncillo, gouache, collage y serigrafía; además en esta colección se encuentran algunos ejemplares realizados en España en la década de los 40. “La Vía Láctea”, que se com-

Remueve Tony conciencias 20 LORENA JIMÉNEZ Desde su trinchera intenta remover conciencias a través del arte. Tony Camacho, quien recibirá el 29 de agosto una placa

de la literatura, cuyos contenidos llevan a reflexionar sobre los valores, la educación y la ética. Uno de ellos estará basado en la obra Don Quijote de la Mancha, de Miguel de Cervan-

cas, en proceso de selección. “Ojalá entendiéramos que no se necesitan armas ni fusiles, solo inteligencia bien encauzada para dejar de ser un pueblo estancado”, lamenta la actriz. “Cada quien desde su trin-

pone por 27 piezas de acero con forma de estrellas y que fue realizada en 1968 para una exposición en Bélgica, es una de las obras que realizó en la Península Ibérica y que reciben trabajo de conservación. El estado de las obras es estable, coincidieron Limón y Castañeda, y la situación que presentan corresponde al envejecimiento natural que han tenido los materiales.

PARÍS. - La décima edición de la exposición de ganadores del Concurso de Pintura Contemporánea de Grupo REFORMA se inauguró ayer, en el Instituto de México en París, en presencia de dos artistas exponentes, Arturo z La obra “Segundo Momento Leal Córdoba, ganador del Inspirado en Francis Bacon”, primer premio de la edición de Jesús Manuel Osuna, está expuesta en París de Monterrey, y de Elizabeth Zabroky González, The honorífica transmition mención de la of the conservation proposal, restoration treatments, as well as the research misma ciudad. Instituto de México conserfindings andMexiresultsvó was crucialexposición for the success of this project. The conservation laboratory Titulada “Dixième de su anterior que Peinture Contempodedicada a la arquitectura was openedpresenta to the public not only to increase the knowledge about this particular collection, raine”, la muestra mexicana. 15 cuadros entre queto se promote El público conocedor of Cultural Heritage as a discipline in Mexico. but los also Conservation cuentan las obras de los gaapreció la muestra. nadores de cada una de las “Vengo regularmente al ediciones de las ciudades Instituto de México y cuande Monterrey, Guadalajara do supe de esta inauguración y Ciudad de México, además no dudé”, dijo Ingrid Leddet, de las cuatro obras que recipintora francesa. bieron mención honorífica “Dixième Mexique Peinen cada una de estas sedes. ture Contemporaine” estará “Para todo el que se deabierta hasta el 14 de septiemdica a la pintura, exponer en bre y posteriormente se exhiParís es como una meta”, cobirá en la Ciudad de México. mentó Leal a MURAL. Por su parte, Nicolás JiDÉCIMA EDICIÓN ménez, presidente de la AsoDesde hace 10 años, el Instituciación París-México, destato de México en París abre sus có la calidad creciente de las puertas a la muestra de obras obras que presenta año tras ganadoras del Concurso anual año el concurso de pintura de Pintura Contemporánea de Grupo REFORMA. del Grupo REFORMA. La artista regiomontana Según los responsables solo pudo conocer a Arturo del Instituto, es un evento de Leal Córdoba ya que el gacreciente aprecio y una colanador de Guadalajara, Jeboración que promete conti-

Final display for the exhibit â&#x20AC;&#x153;Mathias Goeritz. Formas/ Soluciones/ Temasâ&#x20AC;? inaugurated on November 12, 2015.

“Museo de la Ciudad” Collection/ Metallic artifacts Metallic Artifacts Conservator, Student. Escuela de Conservación y Restauración de Occidente (ECRO) and “Museo de la Ciudad”; Guadalajara, Mexico. December 2013- January 2014. Conservation and restoration treatments on permanent collection of the “Museo de la Ciudad” of Guadalajara, ranging artifacts from 16th to 20th centuries. Through documentation activities the collection was assessed and pieces with a more delicate state of conservation were treated accordingly. Also a new inventory system for the museum was proposed, as well as preventive conservation measures. Conservation treatments included corrosion products removal and cleaning. Pieces with active corrosion were treated more throughly. Personally I was responsible of the restoration of a 16th century iron armor. In total 15 pieces were restored, and new mounting systems were proposed by the conservation team.

Oil lamp after cleaning, probably dating from 18th century. The interior still had old oil, which was succesfully removed.

Tin and silver cigarette case dating from 19th century after uperficial cleaning.

16th Century armor restored by Maria CastaĂąeda as a student. On top, the museumÂ´s museography is showed were the armor is in display. Photographs of the armor before the restoration, front and back (top right), and after the cleansing, passivation, coating and inhibitor application, front and back (low right).

Ignacio Díaz-Morales Archive, ITESO Library/ Architectural drawings Paper Conservator, Intern. Escuela de Conservación y Restauración de Occidente (ECRO) – Instituto Tecnológico de Estudios Superiores de Occidente (ITESO); Guadalajara, Mexico. September - October 2014 Conservation and restoration treatments on 45 works on paper, including drawings and watercolours, by architect Ignacio Diaz Morales for the exhibit entitled “Ignacio Díaz Morales: El oficio del Arquitecto” (Ignacio Diaz Morales: The Trade of the Architect) at the “Museo de las Artes” (MuSA). Conservation-restoration treatments carried out were: Documentation: Photography and condition reports Dry cleaning: use of eraser and brushes Adhesive tapes removal Tear mending and reinforcement with japanese paper Humidification and flattening Fills for losses were made with tinted japanese paper Inpaint were needed Envelopes were specially made for each work

Tower of the “Expiatorio” Temple of Guadalajara, watercolour on cotton paper. Igancio’s Diaz Morales Studio, probably from 1950’s period (top). Interior of University of Guadalajara’s Theater, project by Diaz Morales. Chinese ink and graphite on transparent paper, dated 1962 (right).

“Fondo Cristero Reguer” Archive, ITESO Library/ Documents and archive material -Paper Conservator, Student. Escuela de Conservación y Restauración de Occidente (ECRO) – Instituto Tecnológico de Estudios Superiores de Occidente (ITESO); Guadalajara, Mexico. June 2013.

Newspapers are one of the different types of archival material that compose the collection.

Collection assessment and conservation treatments on archive material from 1923 to 1941, which included newspapers’ clippings, handwritten and typed letters, photographs, flyers and other propaganda prints. The archive belonged to Consuelo Reguer Noriega, who gathered the documents as part of her research on the Cristero war, an important part of Mexico’s history. After finishing her book, the author donated her archive to ITESO’s library in Guadalajara. The collection was not catalogued, or had adecuate storage conditions, so the conservation project was focused on documentation and on prioritizing the documents with a more delicate state of conservation.

Maria Castaneda (left) doing condition reports and description of the contents of the documents. Laura Garcia (right) sorting documents already on their folders.

“Curso de Teologia Moral”, Private Collection/ 17th Century Book -Paper Conservator, Student. Escuela de Conservación y Restauración de Occidente (ECRO); Guadalajara, Mexico. June- July 2013. Conservation and restoration treatments on book entitled “Cursus Teologiae moralis tomus tertius, de Iustitia & Iure” by Fr. Andres de la Madre de Dios, printed on 1670 in Lyon, France. The main challenge was to document every part of the book in order to separate and intervene each folio independently; 140 folios where restored by 17 students under the supervision of 3 professors. Also the research on the book’s author and printer added value to the book, which was actually discarted as garbage by an important public library due to its state of conservation. Conservation treatments were: Humidification and separation of folios. Documentation: photographic, state of conservation and fibre identification. Wash of folios separately. Reinforcements and tear mending with japanese paper. Drying between blotter and boards on press Re-assembling of book, and bookbinding. (The latter I did not participate as the semester was over).

Documentation was important to identify the author and the date of the book, as well as its manufacture technique, all of which was unknown due to the bad state of conservation of the book.

Each folio was examined in order to plan treatments for its needs (left). All of the folios where washed in de-ionized water (right) to remove dirt and to flexibilize the support.

The center of each folio was reinforced with japanese paper because this area was very damaged in general (left), and the pages needed to resist to be binded again. The tears were mended (center) and the folios where dryied between blotter and boards in a press (right).

José R. Benítez, University of Guadalajara Collection/ Architectural drawing -Paper Conservator, Student. Escuela de Conservación y Restauración de Occidente (ECRO); Guadalajara, Mexico. March- April 2013. Conservation and restoration treatments on architectonic drawing by engineer José R. Benítez, entitled “Puente de Acámbaro Guanajuato, construido sobre el río Lerma a finales del siglo XVIII y principios del XIX”, dated May 1933, Universidad de Guadalajara collection. The drawing was made with pencil and then over-drawn with chinese ink. The transparent paper was a mix of linen, cotton and pine. The main issue was the rigidness of the support due its ageing, as well as the amount of tears caused by mishandling of the document.

Architectural drawing on transparent paper before restoration. The storage conditions were not optimal, so the 1.20 meter long paper was made a roll and stored in drawers.

The conservation-restoration treatments done were: Documentation: Photography with visible and UV light. Fibre identification Humidification of support to slowly losen the roll Adhesive tapes and labels removal with solvents Inmersion on solvent to remove adhesive Washing Tear alignment Application of Japanese paper backing (three pieces) Application of tinted infills of japanese paper Pressure drying between blotters and wood boards Reinforcements of tears on the front Inpainting was not needed Making of special envelope for storage

Thanks to previous research we were able to know that the plan was the original for a book written by the engineer Jose R. Benitez. Thanks to the book’s reproduction we could reconstruct virtually the missing parts of the original.

Polarized microscope images at 40x.Very damaged fibres due to transparent paper making process (left) and a mix of linen, cotton and pine were identified (right).

Inmersion on solvent to remove adhesive on paper support.

Visible photography of back of drawing (left) and UV induced fluorescence (right) were the lines of adhesive become aparent, eventhough the tapes were already removed.

Washing of document in deionized water

Alignment of tears (left) and application of new japanese paper backing (right) 30

Application of tinted infills while the document still was wet. This decission was made due to the sensibility of transparent paper to humidity.

Drying between blotters and wooden boards in press (left) and once dry, application of japanese paper reinforcements on the front of the plan (right). 31

Architectural drawing before restoration. Front (top) and back (bottom).

Architectural drawing after restoration. Front (top) and back (bottom).

“Cementerio de Cristos” Collection / Polychrome sculpture -Sculpture Conservator, Student. Escuela de Conservación y Restauración de Occidente (ECRO); ex-convent of Tzinztuntzan, Mexico. November 2012. Collection examination and preventive conservation actions of the collection “Cementerio de Cristos” (Christs Cemetery). The principal deterioration factor was dissociation so the goal of the project was to document and stabilize the pieces due to the abandonment the collection was for many years. For the realization of the project the community’s involvement was key, and a lot of activities were planned to inform them about the decission making process as well as to listen to their use of their heritage. Personally I was responsible for the conservation treatments on two polychrome sculptures “San Juan” and “María Magdalena” dating from colonial period. The conservation activities that took place were: Documentation: Photographic, condition reports and catalogue. Radiographic study Pigments study: X-Ray Fluorescence was done on-site Fumigation of premises Emergent conservation treatments: superficial cleaning, re-atachment of fragments, consolidation of wooden support, stabilization of polychrome layers. Storage: Conditioning of space and making of special packaging with Tyvek for scultpures. Community involvement: Take part on community activities; make interviews of use of the sacred imaginery; “open-door” laboratory; tours for schools of conservation laboratory; presentation of results to the community, the major and chief, as well as church authorities.

On-stite conservation laboratory. A team of 16 conservation students and 3 professors worked for four weeks to stabilize the sculpture collection.

â&#x20AC;&#x153;San Juanâ&#x20AC;? (Saint John) is one of the wooden sculptures that had a very severe insect atack, therefore the main treatment done on the sculpture was consolidation of the support. The surface was also cleaned, and a complete radiographic study was carried out in order to get to know the construction process.

From left to right: Front and back of â&#x20AC;&#x153;Maria Magdalenaâ&#x20AC;? (Mary Magdalene) polychrome sculpture as well cleaned, consolidated and parts were reatached. After studying its construction and materials, seemed that this sculpture and the one representing Saint John were from the same period and probably belonged to an altar dedicated to the crucifixtion of Christ, or the Stations of the Cross.

All sculptures of the collection were radiographed on-site. The manufacture techniques were very interesting, as the case of Saint Barbara (left) where the glass eyes could be studied (middle and right). The collection is a catalogue on itself of different construction tipologies of polychrome sculpture tradition through centuries in Michoacan.

The storage was a main concern of the conservation project. The room did not have adequate conditions (left) so the team proposed a new arrangement for the pieces, and organized the collection not only of sculptures, as well objects, documents, etc. (right) The storage conditioning was made according to the communityâ&#x20AC;&#x2122;s means.

Diffusion of the conservation activites as well as the radiographic study was focused with schools of the community mainly to promote the collectionâ&#x20AC;&#x2122;s value as cultural heritage (left). The team of conservators was very well received by the community of Tzintzuntzan and opened the doors to live inside the ex-convent, now a community musuem (right). 37

“Virgen del Rosario” by Pedro López Calderón/ Canvas Painting -Canvas Painting Conservator, Student. Escuela de Conservación y Restauración de Occidente (ECRO) and “San Sebastianito” Church; Guadalajara, Mexico. September 2011- July 2012. Conservation and restoration treatments on canvas oil painting entitled “Virgen del Rosario” (Virgin of the Rosary), 18th century, by Pedro López Calderón. The 2.5x 2.5 painting had been abandoned in the staircase of the church of San Sebastianito for many years until 2011.

The conservation-restoration treatments done by a team of 4 conservation students were: Documentation: Photographic and conditon report Technic analysis: UV fluorescence, Infrared and Sodium light photography. Stratigraphic analyisis Superficial cleaning and consolidation of the pictorial layer Removal of past interventions Canvas stabilization: Cleaning, patches and perimetral bands. Critical cleaning Varnishing and Filling of losses

The signature was discovered after the removal from the stretcher frame.

Cleaning of the canvas with starch paste and spatula.

Superficial cleaning process with water and a non-ionic detergent.

Application of perimeter linen bands with BEVA as an adhesive.

Painting before treatments (left) and after (right). Since the canvas was mounted on a smaller frame, the painting Â¨grewÂ¨in size. Also gained in its chromatic values, and overall the structure was stabilized. The rest of the infills and the inpainting would be done by the next generation of students.

“Virgen de Guadalupe”, Unkown Author/ Canvas Painting -Canvas Painting Conservator, Student. Escuela de Conservación y Restauración de Occidente (ECRO) and “San Sebastianito” Church; Guadalajara, Mexico. July 2012. Inpainting and colour retouching of 18th century oil painting of the Virgin of Guadalupe. The painting had been restored by previous generations of students.

Before colour retouching. After colour retouching. The treatment was not completed and would be continued.

MALVA - Private Conservation Studio/ Private art collections -Conservator. Private conservation workshop “M-alva Talleres de Conservación y Restauración”; Guadalajara, Mexico. April- September 2011 Conservation treatments on canvas paintings, graphic works, ceramics and porcelain domestic objects from private local collectors.

Two different paintings with same iconography. The one on the left was lined with a traditional glue paste, meanwhile the one on the right was lined using BEVA as an adhesive.

Contemporary ethiopian painting on parchment was cleaned and mounted on a rigid support.

Mausoleum at “Belén” Cemetery/ Mural Paintings -Mural Paintings Conservator, Student. Escuela de Conservación y Restauración de Occidente (ECRO); Guadalajara, Mexico. June 2011. Conservation and restoration of mural paintings at 19th century mausoleum, “Panteón de Belén.” The technique of the paintings was tempera, and the main problem was humidity damage specially in the vault. The restoration process started on 2011, so we were the second generation of students to work on the paintings. The conservation treatments were:

Building assesment and architectural survey Cleaning

Infilling of cavities injecting putty and consolidation of the stucco Infilling with putty on missing pictorial layer and inpainting Presentation of results to government authorities and community On parallel thombs of the historical cemetery were documented and catalogued in order to asses the state of conservation of the site for its preservation as a whole.

Thomb of “Nachito” full of toys as offerings for miracles.

Before (left) and after (right) treatments of the altar and wall.

Before (left) and after (right) treatments of the vault. 45

Private house “8 de julio”/ Mural Paintings -Mural Paintings Conservator, Student. Escuela de Conservación y Restauración de Occidente (ECRO); Guadalajara, Mexico. November 2010. Assessment of agents of deterioration of 19th Century domestic mural paintings at the “Casa 8 de Julio,” historical house. Conservation project was elaborated but not executed. The activities that took place were: Architectural survey Documentation: Photographic and condition reports. Stratigraphic analyisis of pictorial layers Survey with UV light Solubility tests Interviews to users and owner of the building Results presentation to owner and general public

Facade of 19th century house that is currently an A.A. center.

Mural painting denominated as “North”. Oil over gypsuym stucco. Dimensions: 3.4 x 3.3 meters. Both painting are located in the entrance porch of the house.

Mural painting denominated as “South”. Oil over gypsum stucco. Dimensions: 3.3 x 3.3 meters.

Architectural survey carried out by students under supervision of professor in Architecture.

Eventough mapping the state of conservation through diagrams was done in every project here presented, when it comes to mural paintings diagrams show patterns of humidity that could indicate the source of the alteration in the bulding. Asessment of the state of conservation of the building was key to diagnose the mural paintings. The house has severe structural damage from interventions like a roof on the patio. 47

“La Higuerita” Project/ Archeological ceramic -Ceramic objects Conservator, Student. Escuela de Conservación y Restauración de Occidente (ECRO) and Instituto Nacional de Antropología e Historia (INAH); Guadalajara, Mexico. March- July 2010 Conservation and restoration treatments on two archeological ceramic objects dated approximately between 450-650 AC. Archeological site “La Higuerita” from Tala, Mexico. The first piece was called “Batea” and its original use was to grind grains, therefore it was on the archeologist’s interest that micro-excavation was done retrieving all the material, and that was the only treatment done to the piece. The second object treated was a vase, which was cleaned and desalinized. Its fragments were reatached and the missing parts were filled with putty. “Batea” after micro-excavation.

Process of conservation-restoration of the ceramic vase. From left to right: Before treatments. After reatachment of fragments. After reposition of missing parts and final photograph.

“Mario Collignon de la Peña” Collection/ Archeological ceramic -Ceramic objects Conservator, Student. Escuela de Conservación y Restauración de Occidente (ECRO) and Instituto Nacional de Antropología e Historia (INAH); Guadalajara, Mexico. June 2010 Conservation and restoration of archeological ceramic object entitled “Figura antropomorfa masculina de pie (Guerrero)” dated between 300 BC and 600 AC, “Mario Collignon de la Peña” collection at “Museo Regional de Guadalajara.” The treatments were cleaning, desalinization, consolidation of the polychrome decoration where needed, reatachment of fragments, filling on the joint and inpainting. Eventhough this piece was also archeological, like the past two, it was a museum object, therefore the aesthetic aspect got more importance.

From left to right: “Guerrero” or Warrior, before treatments. The sculpture had already been intervened, so the oxidized adhesive was removed as well as a varnish it had on the body. Final result after treatments. The project was carried out on-site in the museum. The photograph on the top left corner shows the process of desalinization through inmersion of the piece in deionized water.

Bookbinding Studio -Co-owner and founder of â&#x20AC;&#x153;Las Ramonas Colectivoâ&#x20AC;? studio, specialized in bookbinding and artisanal production of notebooks. Guadalajara, Mexico. March 2015- To present. Website: https://www.facebook.com/lasramonas.co/

The studio was founded with the idea to create modern notebooks using traditional bookbinding techniques, as well as to offer book re-binding services. Every notebook is made by hand and using local materials. The distribution of products was firstly online, and then through markets and fairs in Guadalajara as well as local bookshops.

Maria Castaneda Delgado Cultural Heritage Conservator 1055 Avenue Bernard, Apt. 4 Outremont, Quebec. H2V1V1 (343) 988 3269 mcd.maria@gmail.com