NOTES

1. The author has seen evidence of similar surface loss or active deterioration in collections at the Metropolitan Museum of Art, the Frick Collection, the Victoria and Albert Museum, the Taft Museum, the Herzog Anton Ulrich Museum, and the Louvre. Photographs of Limoges enamels from other collections also suggest that this type of damage is widespread in early painted Limoges enamels.

APPENDIX

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APPENDIX 1. SUMMARY OF TREATMENT AND CONDITION OF EARLY PAINTED LIMOGES ENAMELS IN THE WALTERS ART MUSEUM

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AUTHOR INFORMATION

TERRY DRAYMAN-WEISSER has been associated with the Walters Art Museum for more than 30 years and has been director of conservation and technical research since 1977. After apprenticing with Elisabeth Packard at the Walters, she received her conservation training in objects at the Institute of Archaeology, University of London, graduating in 1973 with distinction. She has published widely on diverse subjects, such as archaeological copper alloys, ivory, and conservation training. Her special interests also include jewelry and enamels. She was a contributing author to Caring for Your Collections (1992), and has recently edited the book, Gilded Metals (2000). After serving AIC in various capacities, including as president, she is currently chair of the AIC Certification Development Committee.