Posted: Friday, January 9, 2015
In the course of conserving a group of twenty-five Tibetan initiation cards currently on view in Sacred Traditions of the Himalayas, the second phase of treatment—performed after media consolidation—concerned compensating losses. All of the cards were damaged along their top edges from a combination of mold deterioration of the multilayered support and the handling received during their past lives as functional objects. While some of the cards were only missing parts of the top red margins, others had losses that extended well into the image area.
Posted: Monday, January 5, 2015
In 2000, The Metropolitan Museum of Art acquired a complete set of twenty-five early fifteenth-century Tibetan initiation cards (tsakalis), which are currently on display in the Sacred Traditions of the Himalayas exhibition, on view through June 14, 2015. When these cards were received, the majority of them showed noteworthy damage which was most easily visible along the top edges of the cards. Under microscopic examination, however, it became apparent that the delicate paint layer—composed primarily of natural pigments in a natural gum binder—was also markedly damaged and, in some areas, detaching from the paper support. In the magnified image shown below, the fibrous paper support can be seen under the cracked and lifting paint layer.
Posted: Tuesday, July 29, 2014
"…how dismal is progress without publicity…individuals love more to bask in the sunshine of popularity than they do to improve in some obscure intellectual shade. Merit is no object, conspicuity all."
—Theodore Dreiser, Sister Carrie (1900)
The Jefferson R. Burdick Collection of printed ephemera in the Department of Drawings and Prints includes over six thousand "tobacco cards" from the late 1800s that depict actresses of various levels of celebrity. Twenty-seven of these cards—which were inserted in cigarette packs and intended to be collected and traded much like baseball cards—advertise Daisy Murdoch, a mid-level burlesque actress of the 1880s. She constituted what we might call a "one-hit wonder" today; she was recognized by the public almost solely for her role as Cupid in the Bijou Opera Company's traveling production of Orpheus and Eurydice (1883–85). Murdoch's cards present a clear example of the dissemination of imagery and commodification of celebrity during this unique moment in print culture and theater history.
Posted: Thursday, April 3, 2014
Published in 1979, the Supersisters trading cards were a playful, informative, and accessible way to spread feminism to younger audiences. The series was inspired by Lois Rich's daughter, an eight-year-old baseball-card collector, who asked why there weren't any pictures of girls on the cards. With a grant from the New York State Education Department, Lois Rich and her sister, Barbara Egerman, contacted five hundred women of achievement and created cards of the first seventy-two to respond.
Posted: Wednesday, January 29, 2014
Brought to you by the Spectrum group, which encourages post-college audiences to experience the Met in new and unexpected ways, this post is the second installment of our new "Spectrum Spotlight" series—bringing you closer to the Met and introducing some of the staff members that make the Museum such a special place. Look for more posts throughout the year, and, of course, please attend Spectrum events!
Posted: Thursday, January 23, 2014
Posted: Friday, December 20, 2013
Since the establishment of the Print Department in 1916 there has been a clear mission to gather all types of printed material ranging from Rembrandt's magnificent and widely collected etchings to the more ephemeral, which includes, among many others things, American and European trade and calling cards, bookplates, illustrated catalogues, and even greeting cards.