Objects Department: Structural treatment
(above) Before and after treatment. Alexander Stirling Calder, Star Maiden, 1914, composite
Our client approached the studio to inquire if we could take on an extensive project, underscoring that it was essential the treatment be executed with the highest care. Her husband is an artist with a working foundry and had acquired Alexander Stirling Calder’s sculpture Star Maiden, 1914, which while in the foundry was broken into two parts by heavy equipment and laid awaiting reconstruction for many years. The project was especially important to us as the loss and damage that incurred to this historically significant work was very upsetting to our client; after reviewing the history, images, and the object itself we were inspired by the challenge ahead.
Alexander Stirling Calder (1870-1945) was an American sculptor and teacher who is part of three generations of artists: Stirling Calder is the son of sculptor Alexander Milne Calder and father to infamous mobile artist Alexander Calder. Stirling Calder considered sculpture to be decorative and believed it should enhance the facades of architectural buildings. After studying and working in Philadelphia, his failing health required him to move to the West Coast in 1906. From 1912 to 1915, Calder lived in San Francisco, where he was the Chief of Sculpture for the 1915 Panama Pacific International Exposition. During this time, Calder employed Audrey Munson, who was a favorite model for artists and became the inspiration for Star Maiden. The work was sculpted for the Colonnade of the Stars, which overlooked The Court of the Universe, which was the central gathering place for the Exposition, becoming an iconic symbol used for the branding, badges, and central imagery for the fair.
Due to the impact damage, the object needed structural work followed by reconstruction of the losses. The first step of the treatment included doweling the sections back together, followed by cosmetic integration, and recreating elements of the sculpture with fills and toning to integrate the surface. During research, we discovered that our colleagues at the Crocker Art Museum had a bronze casting of Star Maiden on exhibition in their permanent gallery. The Crocker’s curatorial department was an enormous resource and provided detailed images that gave direction to sculpting the losses for the heels, hair, crown, and smaller sections of clothing.
(above) Tonja, Objects Conservator, during treatment.
(above) Tonja, Objects Conservator, and Rowan, Preservation Arts President. (below) During treatment.