Indian Conservation Fellowship at SRAL, Maastricht, The Netherlands

Omkar Kadu, Assistant Curator, Conservation

Around 2011-12, senior conservators from Metropolitan Museum of Art, New York (MMA) and Stichting Restauratie Atelier Limburg, Maastricht, the Netherlands SRAL) visited various conservation institutes in India to understand issues related to the conservation field here. They put in lot of effort to design and institute ‘The Indian Conservation Fellowship’ with the support of Ministry of Culture in Government of India and The Andrew W. Mellon Foundation. This programme selected 16 Indian fellows, who were at a relatively early stage of their professional careers, an opportunity to broaden their understanding in the conservation of sculptures, paintings and objects. The programme is planned over a period of two years, from October 2013 to September 2015. Read more...

The Andrew W. Mellon Art Conservation Fellowship

Nidhi Shah, Project Coordinator, Art Conservation Resurgence Project

The Metropolitan Museum of Art and the Stichting Restauratie Atelier Limburg with the support of the Ministry of Culture, Government of India and the Andrew W. Mellon Foundation announced a new program offering Fellowships to Indian citizens engaged in art conservation. This Fellowship is intended to broaden the experience of conservators currently working in various cultural institutions in India. 


Do you want to get trained in Art Conservation?

Anupam Sah, Head of Art Conservation, Research and Training, CSMVS Museum Art Conservation Centre

Art conservation-restoration
Art conservators-restorers, for the sake of explanation, are doctors for works of art, and are well trained both in the sciences and humanities as well as in skills of working with their hands. They are trained to recognize the objective signs of damage to an artwork, and coupled with an understanding of the materials with which an artwork is created, are able to diagnose how the deterioration is proceeding. They implement remedial treatment to arrest the damage in order to enhance the longevity of the artwork. After treatment of the work, they recommend maintenance plans or preventive conservation for the artworks. At times they take recourse to restoration of the visual aspect of the artwork in order to re-establish the ‘message’ of the artwork.


Conservation of the David Sassoon Painting - A Fairy Tale

Dileep Mestri1, Anupam Sah2

1. Conservation Assistant, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Museum Art Conservation Centre. 

2. Chief Conservator-Restorer, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Museum Art Conservation Centre. 

David Sassoon, the Merchant Prince of Bombay, seemed weighed down and tired as his dusty, life-size, early twentieth century portrait, created with oil paints on canvas, arrived at the Museum Art Conservation Centre of the CSMVS.




 - Anupam Sah, Head, Art Conservation, Research and Training


A partnership of the CSMVS Museum Art Conservation Centre with the Bank of America Global Art Conservation Project resulted in the conservation of more than 200 illustrations of the 16th century Anvar-i Suhaily manuscript which was created by skilled draughtsmen, artists and scribes of the imperial atelier of the Mughal Emperor Akbar.


Air Pollution Monitoring at the CSMVS Museum

Vaidehi Savnal

Jr. Conservation Assistant, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), Mumbai

Following a visit supported by the Goethe Institut, Mr. Stefan Simon, Director of the Rathgen Laboratory, initiated a six month collaborative project with CSMVS MACC to conduct an air pollution study at the CSMVS. Manijeh Hadian, Vaidehi Savnal and Dileep Mestri placed instruments and samplers in the galleries, display cases and storage sections. The instruments were placed in climate conditioned and unconditioned rooms to monitor the effectiveness of the climate control system. The samplers are being monitored and at the end of this exercise the results will be analysed to determine the risk to the collections at CSMVS due to air pollution in the area.


The Sword of Damocles

The Courtauld, London and CSMVS, Mumbai Conservation Collaboration

The Collaboration

The conservation of the early 19th century oil on canvas painting, ‘Sword of Damocles’, measuring sixty five square feet was the preferred choice of Mr. Sabyasachi Mukherjee, Director General of CSMVS and of Dr. Deborah Swallow, Director of The Courtauld Institute of Art when they deliberated on a project to commence a collaboration between their two institutions. With the Trustees of the two institutions agreeing to pool in resources, this project plan turned into a reality, and the paintings conservation section of The Courtauld and the CSMVS Art Conservation Centre commenced to conserve and restore the Sword of Damocles, painted by the neo-classical French painter Antoine Dubost in the year 1804. The objective of this collaboration was to mutually develop a ‘good practice model’ and if successful, the scope of this relationship between the two could be enlarged to include other spheres such as conservation education and research.

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