CAC Publications - Selecting and Employing a Conservator
in Canada
Canadian Association for Conservation of Cultural Property
(CAC)
Canadian Association of Professional Conservators (CAPC)
Inpainting a Treated Painting
Canadians are becoming increasingly appreciative of collectable
objects of artistic or heritage value, and concerned with
their preservation. Consequently, more and more Canadians
are turning to professional conservators to enhance and
preserve their collections.
The purpose of this pamphlet is to help you select a conservator
with the expertise needed to preserve, repair, and restore
your object or collection. Information is provided on what
to expect and what not to expect in your dealings with a
conservator.
A conservator is someone who is involved in the care and
treatment of objects of artistic or historical significance.
Qualified conservators are highly skilled practitioners
with years of training and experience. Unfortunately, there
are also individuals who call themselves conservators but
who are unqualified or do not abide by professional standards.
Consequently, it is important to be careful in selecting
a conservator.
Conservation treatments can often be complex and may involve
some risk to the object. Because a high degree of expertise
is required, conservators generally specialize in one particular
field such as paintings, books or artifacts. Experts in
preventive conservation are usually qualified to provide
advice or services for more than one type of collection.
Using a photo technique to infill marquetry losses
It is your responsibility to ensure that you select a conservator
who will provide the best possible care for your object
or collection. To select a conservator you should first
seek references from people or organizations that employ
conservators, such as public galleries, museums and archives.
It is best to ensure that these references are from people
who have dealt directly with the conservator in question.
As a rule all conservators in Canada should:
- know and abide by the Code
of Ethics;
- be willing to show examples of their work and discuss
openly their methods and materials;
- be able to provide references;
- be willing to discuss their training and experience;
- be members of at least one conservation organization
such as the Canadian Association for Conservation (CAC),
the American Institute for Conservation (AIC), or the
International Institute for Conservation (IIC).
Although membership in these organizations is not an assurance
of professional status or competence, it does indicate an
interest in keeping abreast of developments in the field.
There is an accrediting organization of conservators in
Canada called the Canadian Association of Professional Conservators
(CAPC). Although its membership is currently small, the
CAPC is building a registry of professional conservators
who have met strict entrance requirements and who adhere
to the Code of Ethics. It provides a mechanism for the impartial
review of con-sumer complaints against member conservators.
Selecting a conservator who is a member of CAPC affords
you the assurance that the conservator is qualified in his/her
field of specialization.
Conservators may be challenged to work in many
media: in this case, upholstery, and gilded surfaces
on the leg of an antique chair.
You should know exactly who will be doing the conservation
work; it is better to deal directly with the conservator
involved rather than through a third party. Before any work
begins, you should discuss a contract that outlines both
the scope of the work and its cost. From this discussion
you should be informed of the conservator's fees and what
they include. As an example, you might ask if copies of
photographic documentation are included. The division of
responsibility between you and the conservator for packing,
transporting and insuring the object should be made clear.
The conservation of an object normally involves two phases;
examination and treatment. Usually these two steps and their
fees are contracted separately.
The first phase is the examination of the object to determine
its condition and to propose a plan for its treatment and
care. Following the examination the conservator should provide:
- a written report describing the present condition of
the object;
- a written proposal for treatment (although a recommendation
against treatment may be a valid outcome of an examination);
- an explanation of the expected results of treatment;
- an explanation of the potential risks involved in the
proposed treatment;
- information on the type and the extent of treatment
report you will receive upon completion of the work;
- a cost estimate;
- an estimated completion date.
If you accept this treatment proposal, the second phase,
the treatment itself, will follow. Until a contract is signed,
no treatment will be started, and you are under no obligation
to have the work done by that conservator. If you have any
doubts, you should seek a second opinion from another qualified
conservator.
If, during treatment, new information is discovered that
necessitates a significant deviation from the proposed treatment,
you will be asked to sign a revised treatment proposal or
contract.
When the work is completed you should receive a written
treatment report which includes a description of any materials
added to the object during the treatment. Photographs will
be included if specified in your contract. You should also
be given recommendations for the ongoing care of the object.
The conservator will keep complete records of the treatment.
A conservator can also be contracted to provide expert
recommendations on preventive conservation for your collection.
He/she will conduct a survey of the site and the collection,
and will then present a written evaluation with recommendations
for improvements in environment, storage design, etc.
A conservator should not be expected to provide cost estimates
or treatment proposals without first seeing the object or
collection. He/she should not be expected to provide free
estimates or to store objects without charge after work
has been completed. Do not expect a conservator to be qualified
to perform appraisals or authentications, or to buy your
artwork or object, since this may involve a conflict of
interest.
If you are dissatisfied with the conservator's work you
should first approach the conservator to ensure that there
has not been a simple misunderstanding. If the problem cannot
be resolved in this way, and if the conservator is a member
of CAPC, you may contact CAPC for help in mediating the
dispute.
Repairing a damaged silk brocaded dress
The best way to ensure your satisfaction is to be informed
of the conservator's qualifications and to have realistic
expectations of the scope and outcome of any work performed.
Canada is known for its high conservation standards and
has many respected professionals working in the field as
practitioners, researchers, technicians, educators and consultants.
Please take advantage of this expertise to provide the best
care for your treasured objects or collections.
The Canadian Association for Conservation of Cultural Property
(formerly IIC-CG) is a non-profit charitable organization
whose primary aim is to further the dissemination of knowledge
concerning the conservation of Canada's cultural property.
CAC
207 Bank Street, Suite 419,
Ottawa, Ontario K2P 2N2
coordinator@cac-accr.com
The Canadian Association of Professional Conservators is
a non-profit association dedicated to the maintenance of
high standards for professional conservators in Canada.
CAPC
c/o Canadian Museums Association
Suite 400, 280 Metcalfe St.
Ottawa, Ontario K2P 1R7
tel.: (613) 567-0099
Copies of the "Code of Ethics and Guidance for Practice
for Those Involved in the Conservation of Cultural Property
in Canada" may be obtained from either of the above organizations.
© 1997, CAC and CAPC
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