The study of provenance is a traditional part of art historical research, as an object’s chain of ownership can inform a scholarly understanding of the work of art itself: its function, condition, and its place in the history of taste and collecting.
The Museum seeks to enhance the distinction of the collection through the acquisition of works of art by purchase, gift, and bequest. The Museum values quality over quantity. Acquisition activity is a major responsibility of the Curatorial staff, Deputy Director, and Director.
On Thursday, September 28, 2006, the Museum of Fine Arts, Boston (MFA) transferred 13 antiquities to Italy and signed an agreement with the Italian…
Conservation and Collections Management is an integral part of the Museum's stated purpose to hold its collections in trust for future generations.
Conservation Strategy A condition survey in 2004 showed that close to half of the ceramics in the Museum's Late Archaic and Early Classical Greek gallery were physically unstable. Many of the ceramics, assembled from fragments, were heavily restored before they came to the Museum in the late nineteenth and early twentieth centuries. After more than a century, they were in dire need of conservation. All of the vessels required cleaning and many were plagued with failed adhesives, soluble salts, and discolored restoration paints.
The Museum’s study collection of Japanese paper stencils consists of approximately 5,000 objects that were used in textile production during the Edo period. While the majority of such stencils were made for textile production during the 18th and 19th century, some were created to satisfy the demands of Western collectors.
The Asian Conservation Studio is one of only five such studios in the United States and the oldest outside of Asia. The studio was established in 1907 within the department of Asiatic Art during Okakura Kakuzo’s curatorship. Headed by a Japanese mounter named Motokichi Tamura, its initial mission was to preserve Japanese paintings.