Tag Archives: installation

BMA Voices: Louis Comfort Tiffany Window of the Baptism of Christ: the other side!

Baptism of Christ at the entrance to the BMA auditorium

Manufactured by Tiffany Glass and Decorating Company from a design by Frank Brangwyn.. Window: Baptism of Christ. c. 1897. The Baltimore Museum of Art: Gift of Herman and Rosa L. Cohen, and Ben and Zelda G. Cohen, BMA 1979.5. © Estate of Frank Brangwyn. Baptism of Christ at the entrance to the BMA auditorium.

Christine Downie, Objects Conservator

The monument Tiffany Window, Baptism of Christ, has graced the entrance to the BMA auditorium since 1982. When the time came to reinstall the piece in the American Wing, the question arose of which side should be shown. There is no correct side to a stained-glass window since it has viewers from both the inside and the outside of the building.

Looking at the window in its original installation, it became clear that the window had been shown from the exterior viewpoint. For instance, it might have struck the viewer that St. John was baptizing Jesus with his left hand, whereas in a church one might expect to see him pouring with his right hand. All the supporting rods were at the back of the piece, whereas it is traditional in a church for the stained-glass windows to have the supporting rods on the interior. Further investigation showed that the original cartoon by the artist Frank Brangwyn, which Tiffany used for the stained-glass design, has St. John pouring the water on Jesus’ head using his right hand. The decision was made by Dr. David Park Curry, Senior Curator and Dept. Head of Decorative Arts, American Painting & Sculpture, to show the Tiffany window from the other side in the reinstallation of the American Wing. Thus began one of the toughest installation challenges in the museum to date.

1979.5 Tiffany Window Baptism of Christ Aug 5, 2013 085 (Small)The piece had been completely restored in 1979 by a New York City stained-glass specialist and separated into four panels for easier handling. In the thirty years following, a few conservation issues developed, such as a brass supporting rod on an upper panel, which had separated from the frame at one end. Fortunately, we had the expertise of Tage Jakobsen of Artisan Glass Works, Inc., Baltimore, who carried out various metal repairs and gave advice on the display aspects of the piece. We were also fortunate to have local mount maker and sculptor Paul Daniel to help fabricate new supports for the window. Under the direction of Dave Verchomin, Installation Manager, the BMA installation team and an army of contract art handlers deinstalled the window and placed it in storage to await stabilization and cleaning.

The first piece I treated was the smallest, and located at the base of the window. You can see the exterior side and the interior side below.

Exterior viewof the glass.

Exterior view of the glass.

Interior view of the glass.

Interior view of the glass.

Much to my delight there was a painted Tiffany signature stamp on the bottom right hand corner of the interior view that had some old repairs and was covered in surface grime – further evidence that this was indeed the interior side.

March 27, 2014 006 (Small)

A painted Tiffany signature stamp on the bottom right hand corner of the interior view.

 

July 25th, 2014 005 (Small)

The BMA Registrars and Installation team carefully move the Tiffany Window.

The treatment of each panel was carried out over a few months, with art handling help from the BMA Registrars and Installation team. After extensive research, a new LED lighting system was selected by Lighting Designer Kel Millionie. After much planning and thought the BMA Installation crew and contract art handler army came together again to reinstall St. John Baptist window in November, 2014, just in time for the opening of the American Wing.

David Zimmerman adjusting the mount before the second panel is installed

David Zimmerman adjusting the mount before the second panel is installed.

Testing of the LED panels in the bottom right corner

Testing of the LED panels in the bottom right corner

BMA Voices is an insider’s exploration of The Baltimore Museum of Art collection through the eyes of its curators, conservators, and registrars. Featuring a new object every day during the BMA’s 100 Day Celebration, the project will highlight some favorite, amusing, unusual, and obscure objects.

BMA Voices: When sculptures fly

Ellsworth Kelly. Untitled. 1986. The Baltimore Museum of Art: Purchased as the gift of Ryda and Robert H. Levi, Baltimore, BMA 1986.70. © Ellsworth Kelly

Ellsworth Kelly. Untitled. 1986. The Baltimore Museum of Art: Purchased as the gift of Ryda and Robert H. Levi, Baltimore, BMA 1986.70. © Ellsworth Kelly

Melanie Harwood, Senior Registrar

In the years I’ve been here I’ve moved a lot of art – of all sizes, weights and description. Art handling mainly requires focus, common sense and teamwork. Occasionally though there is an opportunity to install really big art, art that is so large and heavy that it involves specialized riggers and equipment. Relinquishing direct control of the installation process is difficult enough, but the added variables of weather, equipment and municipal permits involved in outdoor sculpture gardens make them particularly memorable adventures. On the positive side, however, there are moments of sheer exhilaration when it all comes together – as happened for me on May 25, 1988.

May began well enough with construction on the Levi Sculpture Garden proceeding on schedule in spite of an April 28 snowstorm. Arrangements were in place for the simultaneous move of works from the Levi’s Lutherville property to the BMA and delivery of new pieces from New York, Connecticut and Vermont. City permits for street closures were obtained as the only 100 ton crane on the East Coast was reserved to lift the largest single piece, Ellsworth Kelly’s, Untitled, from the Charles Street service drive. All was in readiness. Then, sometime in mid-month things got complicated. It began to rain, mostly at night. Work slowed and in one case, newly poured footings were washed down the hill in a downpour. The 100 ton crane blew a gasket and its arrival was delayed – which was just as well as there were last minute adjustments to Kelly’s piece at the Connecticut foundry and its delivery was delayed as well.

Finally on May 25, a cold, windy and drizzly day, we were ready to place two of the largest sculptures in the garden: Tony Smith’s Spitball and the Kelly. Just as the mammoth blue crane began to lift Untitled from the flatbed, Ellsworth Kelly himself appeared with our deputy director, Brenda Richardson. They watched nervously beneath dripping umbrellas as 35 feet of stainless steel wrapped in blue plastic rose 100 feet in the air over the trees. In spite of wind and a daunting tangle of large branches, the crane operator skillfully lowered the sculpture until the waiting crew was able to guide it onto pins submerged in the cold muck and water. Kelly was positively euphoric once the sculpture was safely in place. I know the sculpture was conceived as a fragment of a huge disc but I’ll always see it as an airborne fin!

Ellsworth Kelly’s "Untitled" being lowered through the trees.

Ellsworth Kelly’s “Untitled” being lowered through the trees.

Ellsworth Kelly’s "Untitled" being lowered through the trees.

Ellsworth Kelly’s “Untitled” being lowered through the trees.

The Levi Sculpture Garden opened on June 17, 1988. Visitors strolled the paths enjoying the sculpture and freshly established landscaping. Among the invited guests I saw Ellsworth Kelly and Mark DiSuvero chatting in front of the latter’s sculpture, Sister Lu, Kelly inquisitively sticking his head into the bucket!

BMA Voices is an insider’s exploration of The Baltimore Museum of Art collection through the eyes of its curators, conservators, and registrars. Featuring a new object every day during the BMA’s 100 Day Celebration, the project will highlight some favorite, amusing, unusual, and obscure objects.

Ellsworth Kelly. Untitled. 1986. The Baltimore Museum of Art: Purchased as the gift of Ryda and Robert H. Levi, Baltimore, BMA 1986.70. © Ellsworth Kelly

Ellsworth Kelly. Untitled. 1986. The Baltimore Museum of Art: Purchased as the gift of Ryda and Robert H. Levi, Baltimore, BMA 1986.70. © Ellsworth Kelly