My name is Melanie Harper, and I am completing a Masters of Cultural Materials Conservation at the University of Melbourne. A component of my degree involved completing a three-week internship where I could apply the skills and knowledge I had gained during the first half of my studies, while also expanding them in a real-world setting. I was fortunate to undertake this internship at Grimwade Conservation Services (GCS) in North Melbourne, where I had the opportunity to work with a wide variety of objects and conservation treatments.
Melanie holding the Geoffrey Kaye Museum of Anaesthetic History’s porcelain cocaine jar (VGKM7572) during treatment at Grimwade Conservation Services.
During my three-week internship, I did not know what to expect, but working on a beautifully crafted, delicate Limoges porcelain jar with the very large word ‘COCAINE’ gilded across its surface was certainly not what I anticipated.
The jar was brought into the GCS objects lab by Veronica Dominiak, Curator of the Geoffrey Kaye Museum of Anaesthetic History, part of the Australian and New Zealand College of Anaesthetists. The jar itself was in good condition, with only minor dirt and grime that had accumulated over time. The lid, however, was damaged on the underside along the lid flange. A fragmented piece of the flange had been retained and needed to be reintegrated, while another section was completely missing.
After discussions with my supervisor and the curator, it was decided that I would clean both the jar and lid, remove any staining and grime, reintegrate the fragmented flange, and, if possible, create an infill to replace the missing section. There was also a very fine blind crack running across the top of the lid. It was decided that I would remove as much dirt as possible from the crack before wicking an adhesive into it to strengthen the lid.
With a plan in place, I was able to begin work.
Removal of the dirt and grime was relatively straightforward. Using a cotton swab dipped in acetone and deionised water, I was able to remove most of the accumulated grime with great care taken around the gilded surfaces. The blind crack, however, was a different story. Being so fine, I was unable to use my usual swab-and-solvent method. Following consultation with fellow object conservators, I created a poultice using laponite and water, a material I had never used before.
Laponite is an interesting synthetic clay that forms a clear, colourless gel when mixed with water. When applied to a semi-wet surface, this gel can help draw dirt from very small cracks, such as the blind crack on the lid. Unfortunately, it did not work as well as I had hoped. This may have been because the crack was too fine or because my application method was not quite right. However, it did reduce some of the staining, and I was pleased with the improvement.
With the cleaning complete, I moved on to re-adhering the fragmented piece. Initially, I planned to use Hxtal, a very strong epoxy resin commonly used in glass and porcelain restoration. However, I ultimately chose Paraloid B-72 in a 30% acetone solution, as this adhesive is reversible in acetone and provides a weaker bond than Hxtal. In object conservation, it is often preferable for an adhesive to be slightly weaker than the object itself, ensuring that any future damage is less likely to cause additional harm to the original material.
I did, however, use Hxtal within the blind crack to add strength to the lid. The Hxtal was sufficiently thin that it could be applied directly to the crack and allowed to wick into it.
The Paraloid worked well, and I was happy with the strength it provided. After reintegrating the fragment, I discussed the best option for infilling the area of loss with my supervisors. We initially considered using a two-part epoxy putty that could be applied directly to the lid and moulded into the desired shape. However, after further consideration, it was decided that I would not have enough time to complete this stage to a standard I would be fully satisfied with.
Overall, I was very happy with the outcome and proud of the work I was able to complete, especially as my first professional object treatment.
A huge thank you to Veronica Dominiak for entrusting me with such an interesting object from the Museum’s collection. I am also deeply grateful to my supervisor and everyone in the Grimwade Conservation Services objects lab for their guidance, generosity, and willingness to share their knowledge throughout my internship. Working on this fascinating object was both challenging and rewarding, and the experience has further strengthened my enthusiasm for a career in conservation.
Melanie examining and treating damage to the lid of the cocaine jar as part of the conservation process.