BUSINESS PROFILE
Business Profile
C O N S E RV A T I O N L A B O RA T O R Y RECOOP – THE RESTORATION
AND
CONSERVATION COOP LTD
Exporters Street, Imriehel Industrial Estate, Imriehel, Malta Tel: +356 2149 1297 Mob: +356 79092480 Email: info@recoop.com.mt Web:www.recoop.com.mt
© (2009) ReCoop: The Restoration and Conservation Co-operative Ltd. All Rights Reserved
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CONTENTS
CONTENTS
3
ABOUT US
4
GOALS AND OBJECTIVES
4
THE TEAM
5
SERVICES
7
CONSERVATION AND RESTORATION TREATMENTS
7
CONSULTANCY
8
INVESTIGATIONS
8
MONITORING
8
AREAS
9
STONE
9
MURAL PAINTINGS
10
GILT DECORATIVE SCHEMES
12
EASEL PAINTINGS
13
POLYCHROME SCULPTURES
14
CERAMICS
14
METAL
15
MARBLE
16
CURRICULUM VITAE
17
APPENDIX LIST OF ARCHITECTURAL PROJECTS DURING THE PAST THREE YEARS
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ABOUT US ReCoop – The Restoration and Conservation Co-operative Ltd. is a fully recognised cooperative made up of professional individuals offering conservation, restoration, arthistorical, monitoring and consultancy services to the private and public sector, both locally and abroad. The group has been operating since 2003 and has grown to render its services to prestigious organisations including Government Art Collection UK, St. John’s Co-Cathedral Foundation, Heritage Malta, Din l-Art Helwa, Fondazzjoni Patrimonju Malti, Superintendence of Cultural Heritage, Valletta Rehabilitation Project, Malta Centre for Restoration and several Maltese parishes.
ReCoop offers its professional services in fullfilment of the requirements laid out by international standards. The innovation of our business lies in the ability to perform holistically as a group of dedicated conservator-restorers and art-historians who graduated in different areas of specialisation. The team works in an interdisciplinary approach to promote conservation culture and to perform conservation and restoration treatments, which are aimed at a better safekeeping of the Maltese Cultural Heritage for future generations.
GOALS AND OBJECTIVES The E.C.C.O. Professional Guidelines provide a clear definition of cultural property including all such ‘objects to which society attributes a particular artistic, historic, documentary, aesthetic, scientific, spiritual or religious value’. Apart from the aesthetic intention, works of cultural heritage provide valuable information regarding technique, availability and use of materials, stylistic and economic development and aspects of cultural, social or political history. We feel that it is one of our key mandates to safeguard this cultural heritage in order to make a future for the past.
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Business Profile THE TEAM CONSERVATORS-RESTORERS RODERICK ABELA - B. CONS. (HONS.) - DIRECTOR CONNIE FORMOSA - B. CONS. (HONS.) AGATHA GRIMA - B. CONS. (HONS.) - DIRECTOR ABDALLAH BADIDOU HADJ AMAR - B. CONS. (HONS.) PAUL MUSCAT - B. CONS. (HONS.) - DIRECTOR JOANNE ZARB – B. CONS. (HONS.) ART HISTORICAL CONSULTANT DR. KEITH SCIBERRAS PH. D. - DIRECTOR PROJECTS ARCHITECT JOSEPH ZAMMIT BE&A (HONS.) A&CE, ART HISTORICAL RESEARCH SARAH GALEA - B.A. (HONS.) M.A. MASTER GILDERS CLINT CALLEJA - B. A. (HONS.) JASON PACE CONSULTANT CONSERVATION ARCHITECT MARIELOUISE MUSUMECI BE&A (HONS.) A&CE, MSC CONSERVATION (TECH) DIAGNOSTICS CONSULTANT DR. LEONARDO BORGIOLI - CTS FLORENCE CALCHERA - SAN GIORGIO; CENTRO DI RICERCA E FORMULAZIONE DI MATERIALI PER PROFESSIONISTI DEL RESTOAURO ARCHITETTONICO PHOTOGRAPHER JOE P. BORG
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SERVICES ReCoop offers a variety of services for objects of Cultural Heritage including Easel and Mural Paintings, Polychrome Sculptures, Ceramics, Glass, Metal, Stone and Marble Artefacts, Monuments and Architectural Sites. Our Services include: • Conservation and Restoration Treatments • Condition Surveys and Conservation Audits • Scientific and Art Historical Research • Consultancy • Diagnostic Investigations and Monitoring
CONSERVATION AND RESTORATION TREATMENTS ReCoop provides clients with an efficient and professional service in conservation-restoration interventions embracing photography and written documentation, as well as graphical documentation on the client’s request. Following a modern conservation approach, we adhere to the highest conservation standards as stipulated by the E.C.C.O. Professional Guidelines.* Each artefact has a history – a story well-worth recording. Indeed, any conservation-restoration process can only be justified in its non-adulteration of the original work with the consequent documentation of the work carried out – yet another page in the object’s history.
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Business Profile CONSULTANCY The ReCoop team has been trained to assess artefacts, sites and museum collections for their state of preservation and for factors promoting deterioration of the material, thus attributing deterioration phenomena to their causes. Assessing possible risks will aid in proposing maintenance and monitoring procedures aimed at the general improvement of the artefacts’ environment with a view to its long-term preservation.
INVESTIGATIONS ReCoop undertakes full art historic and scientific research. Collaboration with allied professionals, conservation scientists and architects enables the most holistic services to our clients. Making use of all available technology to investigate both the technical composition of the artefacts and their physical state, the team can assess authenticity, perform the safest and most effective treatments and propose suitable preventive measures. Research-related projects provide clients with the most tangible results for the better preservation of our Cultural Heritage.
MONITORING ReCoop provides documentation and on site monitoring services for small scale and major architectural projects. This includes the formulation of restoration method statements and basic training for skilled workers involved in such projects.
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AREAS STONE
Façade of St. Dorothy’s Convent, 18 th century, Mdina
In the past, attempts at repairing sculptured stone more often than not involved invasive procedures – doweling, clamping, stapling – resulting in marring of the appearance of the object and potential promotion of further damage. Lime mortar, cement, sodium silicate, plaster of paris and several gums and resins were routinely used for patching and filling of defects however these are no longer acceptable. Previously, cleaning of stone would be carried out by harsh acidic treatments followed by neutralization – creating a wealth of soluble salts which easily penetrated the stone and promoted future salt-crystallisation damage. Damaged architectural stone was replaced or repaired without taking into consideration material compatibility, matching of appearances and the treatment durability. ReCoop has worked on numerous projects for the conservation of buildings or architectural motifs and has furthemore frequently offered consultancy for method statments and monitoring work. One of the most important projects undertaken over the recent years is the restoration of the entire architectural fabric of the Carmelite Church and Convent in Mdina. Work on various palazzos includes that on Palazzo Bosio, Balzan, whilst the important Medieval House at Old Collachio, Birgu, fell under ReCoop’s responsibiltiy.
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Carmelites Priory and Church, Mdina
MURAL PAINTINGS Compared to artefacts that are protected in a museum, mural paintings present a more complex situation. They define an architectural space by visualising its function in the form of figurative images and decorative patterns. Mural paintings and decorations are regarded as an integral part of the architectural structure. It is therefore important that roofing systems and any window openings are closely monitored and maintained. Apart from a detailed photographic investigation, it is important to carefully map both manufacturing technique and condition of the painted walls. This work presents an integral part of the investigation necessary for understanding the phenomena of decay. For Page 10 of 18
Business Profile example, crystallisation of superficial salts along the lower part of the painted walls would indicate rising damp. The most important considerations in treatment include recovering the support’s and the painted layers’ structural stability. Stone suffering from crystallisation of salts may need desalination. Stabilising the painted surfaces may include grouting, adhesion and consolidation. Aesthetic presentation is also important. This phase usually includes cleaning and integration. A number of factors need to be considered including the mural painting’s condition, its history and its function. A scientific approach in cleaning permits the designing of specific cleaning agents and methodologies which permit effective and safe cleaning. Finally, an overall aesthetic integrity of the painted and decorated surfaces is achieved by using reversible conservation materials.
Carmelites Church Ceiling, Mdina
V. Manno, Mdina Cathedral Church Vault
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Business Profile GILT DECORATIVE SCHEMES Wood-carved and gilt decorative schemes form an integral part of Malta’s artistic patrimony. ReCoop undertook various conservation projects on such schemes, including work on large scale reredoses, statuary, and intricate relief carving. There are various types of gilding techniques and all come with different conservation concerns. Issues in treatment are not only related to gilding, but also to structure stability. In the case of wood, major concern is caused by insect infestation, structural defects and movement. ReCoop also undertakes gilding projects on various surfaces and specialise in traditional European finishes, especially gilt finishes such as toning and burnishing of gold leaf.
St John’s Internal East End Facade
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Business Profile EASEL PAINTINGS
Massimo Stanzione, Parish Church, Mosta
All paintings are subject to an ongoing ageing process, which generally affects the whole structure of the painting and becomes apparent in the paint layer. The most evident aesthetic changes include a yellowed or darkened appearance, fading of certain pigments, wrinkling, cracking and creasing of the paint layer etc. These deterioration processes cannot be halted but can be slowed down by eliminating factors that accelerate degradation. Many paintings further suffered inexpert restoration treatments in the past, some of which have caused irreversible damage. With growing awareness, communication and education in the conservation field unprofessional restoration interventions have become unacceptable. The modern conservator-restorer strives to stabilise the painting’s condition using reversible treatments and materials with respect to the artefacts integrity, its aesthetic and historic values. Cleaning is one of the most delicate interventions. When the yellowed varnish is removed, the original intensity of colour is unveiled, but damage and old overpaintings also become evident. The removal of dirt and grime often suffices to unveil the original artistic intent.
Adoration of the Magi, Private Collection, Malta
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Business Profile POLYCHROME SCULPTURES A number of similar deterioration processes as found in easel paintings may be found on polychrome sculptures especially where the support is made of soft materials as wood or papier machĂŠ. Such deterioration processes would be indicative of the cause of damage. The presence of an insect infestation in a wooden polychrome sculpture, apart from the needed disinfestation and other treatment, necessitates the investigation and regulation of the environmental condition that the artefact is exposed to. Treatment is always designed according to the needs of the artefact. For example, a venerated and St. Dominic Polychrome Sculpture, Late th 17 century, Parish Church, Valletta
devotional polychrome sculpture that is carried through devotional processions should be closely monitored especially since such events expose it to risky immediate environmental changes.
CERAMICS
Prehistoric Amphora, Temple Period, National Archaeological Museum, Valletta
Conservation of ceramics involves basic care, such as surface cleaning, or more interventive treatments which may involve restoring a damaged item. This could include re-bonding objects that have been in many pieces, or the full reconstruction of missing areas to add structural support and improve stability. Page 14 of 18
Business Profile Conservation and restoration of ceramics is keyed to several levels of analysis: evidence of the original manufacture, evidence of modification of the ceramic or damage etc. When working on any ceramic and especially these archaeological artifacts, we need to respect them as historical survivors and diligently work at not distressing them further.
METAL
War Memorial, Victoria, Gozo
Monuments made of metal present a particular challenge due to the fact that they are directly exposed to the external environment. This greatly affects the material they are made of. The conservation intervention of the War Memorial allowed for the stabilisation of the active copper corrosion and for the general improvement of its aesthetic values. Apart from the various bronze parts making up the monument, the project also tackled the hard-stone pedestal beneath. The main door of Naxxar Parish church is composed of around 750 bronze pieces attached to a wooden door beneath. When dismantling the bronze door to undergo conservation treatment, the original intricate design and technique of the singular metal pieces became evident. A system of labelling each single piece was devised in order to be able to reestablish their original positioning on its remounting. Following its treatment, the conservation team suggested procedures for regular maintenance and continuous monitoring as a means of slowing down deterioration processes.
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Bronze Door, 1913, Naxxar Parish Church
MARBLE The cleaning of marble monuments is proven to be a lengthy process since more often than not it consists of a complex arrangement, having different marbles and even metal parts. The complexity of the work of art is confounded by the, practically inaccessible, fine undercuts. The use of different coloured marble makes the process more difficult still, being reactive to solvents in different ways. Deterioration processes encountered have included: the application of various wax coatings, entrapping dust and dirt between each application; salt efflorescence caused by either raising damp or water infiltration; broken pieces; previous restoration and lack of regular maintenance.
.Domenico Guidi, Monument to Grand Master N. Cotoner, St John’s Co-Cathedral, Valletta
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CURRICULUM VITAE RODERICK ABELA - B. CONS. (HONS.) Born 1982. Conservation graduate (2005) of the Institute for conservation and restoration studies (Heritage Malta, University of Malta). Has been with ReCoop since 2005, as member and director. CLINT CALLEJA - B. A. (HONS.) Born 1982. Holds a B.A. (hons) in History of Art from the University of Malta. Has been freelance consultant for various art-historical projects. Full-Time Art-Historian and decorator with ReCoop since 2007. Currently reading for an M.A. in Baroque Studies. CONNIE FORMOSA - B. CONS. (HONS.) Born 1970. Conservation graduate (2003) of the Institute for conservation and restoration studies (Heritage Malta, University of Malta). Has been with ReCoop since 2003, as member. SARAH GALEA - B.A. (HONS.) M.A. Born 1979. Holds an M.A. in history of art from the University of Malta. Has worked on numerous art-historical consultancy projects for heritage Malta, amongst others. Full-time art-historian with ReCoop since 2008. AGATHA GRIMA - B. CONS. (HONS.) Born 1965. Conservation graduate (2003) of the Institute for conservation and restoration studies (Heritage Malta, University of Malta). Has been with ReCoop since 2003, as member and director. ABDALLAH BADIDOU HADJ AMAR - B. CONS. (HONS.) Born 1973. Conservation graduate (2008) of the Institute for conservation and restoration studies (Heritage Malta, University of Malta). Has been with ReCoop since 2008, as a conservator. PAUL MUSCAT - B. CONS. (HONS.) Born 1979. Conservation graduate (2003) of the Institute for conservation and restoration studies (Heritage Malta, University of Malta). Has been with ReCoop since 2003, as member and director. Currently reading for an M.A. in Baroque studies at the University of Malta. MARIELOUISE MUSUMECI BE&A (HONS.) A&CE, MSC CONSERVATION (TECH) Born 1974. Architect and Conservation specialist. Has worked on numerous private projects of civil and building works. Chairperson of Valletta Rehabilitation Project and Page 17 of 18
Business Profile member of the Heritage Advisory Committee, MEPA. Consultant Conservation Architect with ReCoop since 2008. DR. KEITH SCIBERRAS PH. D. Born 1970. ReCoop art-historical consultant and director since 2007. Senior Lecturer in History of Art at the University of Malta. Has published extensively on baroque art and architecture, and lectured in numerous international universities and institutions. Elected Senior Fellow of the Metropolitan Museum of Art, New York. Has co-ordinated numerous restoration projects for Valletta Rehabilitation Project, St John’s Co-Cathedral, and Mdina Rehabilitation Project, amongst others. Art Historical Consultant with ReCoop since 2007 JOSEPH ZAMMIT BE&A (HONS.) A&CE Born 1961. Architect and Civil Engineer with vast experience in architectural, structural design, and project management in the international field, including work for FedericiCogefar and Mouchel and Partners Ltd. Has worked for leading Maltese firms in projects of civil and building works. His major projects include work for Scamps Palace (Port Cottonera Rehabilitation Project), Hilton International Malta, Portomaso Development, and Motherwell Bridge International, amongst others. He has been with ReCoop as Consultant Architect and Project Manager for architectural projects since 2008. JOANNE ZARB – B. CONS. (HONS.) Born 1985. Conservation graduate (2008) of the Institute for conservation and restoration studies (Heritage Malta, University of Malta). Has been with Recoop since 2008, as a conservator.
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