Page 16 - Copper and Bronze in Art: Corrosion, Colorants, Getty Museum Conservation, By David Scott

Permission to reproduce photographic material was provided by a number of institutions
and individuals, who are acknowledged individually at the end of the book. First and foremost,
I would like to thank the photographic department of the J. Paul Getty Museum, especially
Jackie Burns, Louis Meluso, and the late Charles Passela, for their unfailing assistance and work
in providing many of the negatives used for reproduction here. I also extend my thanks to the
conservation staff at the Freer Gallery of Art, Washington, D.C., specifically W. Thomas Chase,
Paul Jett, and Elizabeth West Fitzhugh, who were wonderfully supportive and kindly provided
some of the illustrations. I would also like to thank Shigeo Aoki, head of Metal and Stone
Research, Department of Restoration Techniques, Tokyo National Research Institute of Cul­
tural Properties, for slides of the Great Buddha, Kamakura; the British Museum photographic
service department and the Trustees of the British Museum for their permission to reproduce
photographs of objects in their collections; Helen Ganiaris of the Department of Conservation,
Museum of London, for photographs of excavated bronzes from London waterfront sites as well
as photographs of sampleite corrosion crusts from Egypt, which are reproduced with permis­
sion from the Egypt Exploration Society; Dana Goodburn-Brown, independent researcher and
conservator, for the scanning electron photomicrographs of corroded brass and of the etched
surface of a bronze from the Museum of London excavations; Pieter Meyers, Conservation
Center, Los Angeles County Museum of Art, for photographs and information on objects from
the Shumei Cultural Foundation collections in Japan; and Lyndsie Selwyn of the Canadian
Conservation Institute for photographic material from the Ottawa outdoor bronze research
project. Encouragement and personal communication was gratefully received from Nigel
Seeley, Keeper of Conservation, National Trust, London. A sample of gerhardtite was provided
by Tony Kampf, curator, Los Angeles Museum of Natural History; a sample of trippkeite was
provided by the Museum of Natural History, Smithsonian Institution, Washington, D.C.; and
several other mineral samples, including libethenite, botallackite, and paratacamite, were pro?
vided by the Royal School of Mines, Imperial College, University of London and by the British
Museum (Natural History), South Kensington, London, during a study of the minerals at the
Institute of Archaeology, University of London in 1985.
Several graduate interns completing their studies carried out some of the practical recipes
described in this volume: Aniko Bezur, Arizona State University, Tempe; Evelyne Gill Godfrey,
Department of Archaeological Sciences, University of Bradford, Bradford, West Yorkshire,
U.K.; and Yoko Taniguichi, National University of Fine Arts, Tokyo. Bezur also carried out a
scanning electron microscope study on a sample of nauwamite corrosion from the Wallace col­
lection, London; Taniguichi carried out an extensive series of powder X-ray diffraction analy­
ses with the author to further characterize the verdigris compounds that were made during the
course of the studies. Avron Spector, volunteer researcher, provided welcome assistance with the
Minolta CM-iooo color spectrophotometer. Eva Sander, during 1985, and Francine Wallert,

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