The Winterthur Library

The Joseph Downs Collection of Manuscripts and Printed Ephemera

Henry Francis du Pont Winterthur Museum, Winterthur, DE 19735

302-888-4600 or 800-448-3883

OVERVIEW OF THE COLLECTION

Creator: Berger, Gustav A., 1920-

Title: Papers

Dates: 1973-2000

Call No.: Col. 723

Acc. No.: 01x128; 07x83

Quantity: 6 boxes (ca.2 cu. ft.)

Location: 19 F 1

BIOGRAPHICAL STATEMENT

Gustav Berger was born on July 28, 1920 in Vienna, Austria, where his father and grandfather were art and antique dealers and where both served as president of the Art Dealers Association. Berger graduated from the Theresianum Academy and studied civil engineering at Haifa Technical Institute. During World War II, he served with the British Army’s Royal Engineers and afterwards with the Israeli Defense Forces. He was trained in photogrammetry and made maps from aerial photographs. He married his wife Mira Kanishtshiker in Naples, Italy, on June 7, 1946. They had two sons, Ron and Raphael.

When he came to the United States in 1954, Berger worked with conservators Julius Lowy, with Mario Modestini on paintings in the Samuel H. Kress collection, and with Frick conservator William Suhr. Berger was encouraged to search for alternate adhesives for the consolidation and lining of paintings, which led to the development of BEVA 371. Berger spent much time developing new materials and methods for art conservation. He was also interested in solving problems encountered while working on very large works of art, such as the Picasso theater curtain in the Seagram collection and the Atlanta, Georgia, cyclorama. He wrote about his research findings and gave many lectures, workshops, and seminars. With William H. Russell, he wrote Conservation of Paintings: Research and Innovations, published in 2000.

Berger started his own business, Berger Art Conservation, Inc., in New York City, in 1967, and closed the business in 1993. He served as director of research for the Art Conservation Research Foundation from 1982 until 2000. He was a member of the International Institute for Conservation (IIC); the American Institute for Conservation (AIC), which awarded him honorary membership; the International Council of Museums Committee for Conservation (ICOM-CC); and the Appraisers Association of America. He received the Austrian Cross of Honor for Art and Science, First Class; the Medal of Merit from the Polish Ministry of Culture, for assistance in conservation in Poland; the Award of Excellence from the Atlanta Urban Design Commission, for his work on the cyclorama; and received a certificate of recognition from the Institute of Museum Services. Berger died on March 5, 2006.

SCOPE AND CONTENT

The collection consists of articles written by Gustav Berger and texts of lectures delivered by him. The articles and lectures reflect his research in the field of conservation, particularly the use of the BEVA adhesive, the effect of environmental changes on paintings, and ways to restore large pieces of art. He gave several workshops on the use of BEVA 371, and workshop materials form a part of the collection. Also included are a copy of his resume, lists of classes he taught and papers he published, and tapes of two of his talks.

ORGANIZATION

The published papers were arranged in chronological order before being donated to Winterthur, and that order was maintained, with the exception of a few oversized folders being filed at the end of the collection. The published papers had also been assigned numbers, 1-63, but the donation did not include a file for every number.

LANGUAGE OF MATERIALS

The materials are in English and German.

RESTRICTIONS ON ACCESS

Collection is open to the public. Copyright restrictions may apply.

PROVENANCE

Accession 01x128 gift of Mr. and Mrs. Gustav A. Berger.

Accession 07x83 gift of American Institute for Conservation.

RELATED MATERIAL:

Books written by Gustav Berger may be found by searching the on-line catalog.

Interviews with and other additional material about Mr. Berger may be found in Col. 701.

ACCESS POINTS

Topics:

Art – Conservation and restoration.

Conservation – Study and teaching.

Art restorers.

Painting – Conservation and restoration.

Adhesives.

DETAILED DESCRIPTION OF THE COLLECTION

Location: 19F 1

Box 1:

Folder 1: “A Vacuum Envelope for Treating Panel Paintings,” 1965

Folder 2: “Relining Outsize Paintings,” 1965

Folder 3: “Reflecting on a Vaseline Jar” – manuscript, preprint, photo, and slide, 1966

Folder 4: “Weave Interference in Vacuum Lining of Pictures,” 1966

Folder 5: “The Testing of Adhesives for the Consolidation of Paintings,” 1968-1970

Folder 6: “A New Adhesive for the Consolidation of Paintings, Drawings, etc.,” 1970

Folder 7: “Application of Heat-activated Adhesives for the Consolidation of Paintings,” 1971

Folder 8: “New Developments in the Conservation of Works of Art,” by Orrin H. Riley and GAB, 1971

Folder 9: “Some Effects of Impregnating Adhesives on Paint Films,” 1972

Folder 10: “Some Effects of Impregnating Adhesives,” 1974

Folder 11: “Formulating Adhesives for the Conservation of Paintings,” 1972

Folder 12: “Testing Adhesives for the Consolidation of Paintings,” 1972

Folder 13: “New Solutions for Modern Problems,” by Orrin H. Riley and GAB, 1973

Folder 14: “Effects of Consolidation Measures on Fibrous Materials,” by GAB and Harold I. Zeliger, 1974

Folder 15: “Effects of Consolidation Measures,” by GAB and H.I. Zeliger, 1974

Folder 16: “Lining of a Torn Painting with BEVA 371, Preliminary Report,” 1974

Folder 17: “Wax Impregnation of Cellulose – An Irreversible Process,” by GAB and H. I. Zeliger, 1974

Folder 18: “BEVA Lining of a Torn Painting – Three Films,” 1974

Folder 19: “Wachsimpraegnierung von Leinwandbildern…,” 1975

Folder 20: “Heat-Seal Lining of a Torn Painting with BEVA 371,” 1975

Folder 21: “Lining of a Theater Curtain by Picasso with BEVA D-8,” 1975

Folder 22: “Unconventional Treatments for Unconventional Paintings,” 1976

Folder 23: “Conservation of a Rare Work by Picasso,” 1976

Folder 24: “Conservation of a Theater Curtain by Picasso,” 1977

Folder 25: “Consolidation of Delaminating Paintings,” 1978

Folder 26: “Preventive Conservation of Painted Objects,” 1978

Box 2:

Folder 1: “Moderne Konservierung Zeitgeoessischer Kunst,” and Modern Conservation for Modern Art,” 1980

Folder 2: “Conservation of Large Canvas Paintings,” 1980

Folder 3: “Conservation of the Atlanta Cyclorama,” 1980

Folder 4: “Decay of Painted Objects: Causes and Prevention,” 1980 (manuscript only)

Folder 5: “New Approaches for Special Problems: Conservation of the Atlanta Cyclorama,” 1981

Folder 6: “The Role of Tension in the Preservation of Canvas Paintings,” 1981

Folder 7: “The Behavior of Canvas as a Structural Support for Painting,” 1982

Folder 8: “Winning of Canvas Paintings’ Battle of the Bulge: A Structural Alternative,” 1983

Folder 9: “Stress-Strain Behavior of Canvas Paintings under Changing Environmental Conditions,” 1983

Folder 10: “A Structural Solution for the Preservation of Canvas Paintings,” 1984

Folder 11: “The Procedure of Developing an Adhesive for Conservation,” by GAB and H.I. Zeliger, 1984

Folder 12: “The New Stress Tests on Canvas Paintings and Some Implications,” by GAB and W.H. Russell, 1984

Folder 13: “Art Adhesive Needs Stability, Reversibility, Compatibility,” 1985

Folder 14: “Investigations into the Reactions of Plastic Materials to Environmental Changes,” by GAB and W.H. Russell, 1986

Folder 15: “Hinweise zum Blendrahmen,” 1986

Folder 16: “Some Conservation Treatments in the Light of the Latest Stress Measurements,” 1987

Folder 17: “Practical Applications of Stress Tests,” by GAB and W.H. Russell, 1988

Folder 18: “An Evaluation of the Preparation of Canvas Paintings Using Stress Measurements,” by GAB and W.H. Russell, 1988

Folder 19: “Causes of Decay on Surfaces Exposed to Environmental Changes,” by GAB and W.H. Russell, 1988

Box 3:

Folder 1: “Art Conservation and its Effect on Valuation,” 1988

Folder 2: “Untersuchungen zum Einfluss der Umwelt auf die Erhaltung von Leinwondgemälden,” by GAB and W.H. Russell, 1989

Folder 3: “Investigations into the Deterioration of Surfaces,” by GAB and W.H. Russell, 1990

Folder 4: “More Unconventional Treatments for Unconventional Art,” 1990

Folder 5: “Deterioration of Surfaces Exposed to Environmental Changes,” by GAB and W.H. Russell, 1990

Folder 6: “Changes in the Resistance of Canvas to Deformation,” by GAB and W.H. Russell, 1990

Folder 7: “Inpainting Using PVA Medium,” 1990

Folder 8: “Uses of PVAs as Varnishes and Inpainting Media,” 1990

Folder 9: “The Mechanics of the Deterioration of Surfaces,” 1991

Folder 10: “The Procedure of Examining a Painting Prior to Restoration: Applying Science and Technology for Use by Small Museums and Private Conservators,” 1991

Folder 11: “La Foderatura – Metodologie e Tecnica (Lining – Methodology and Techniques),” 1992 [book]

Folder 12: “Tears in Canvas Paintings: Resulting Stress Changes and Treatment,” by GAB and W.H. Russell, 1993

Box 4:

Folder 1: “Bestaendige Materiaiten für den Resaurator,” (“Stable Materials for the Restorer”), 1994

Folder 2: “Inpainting Media and Varnishes Which do not Discolor: Part 1: Preparation for Inpainting,” 1995

Folder 3: “Inpainting Media and Varnishes Which do not Discolor: Part 2: Inpainting (Retouching),” 1996

Folder 4: “Transparent Lining of Paintings,” 1996

Folder 5: BEVA Seminars and Workshops: Academy of Fine Arts, Vienna, 1990, 1991

Folder 6: BEVA Seminars and Workshops: New Methods of Treating and Lining Canvas Paintings, Valencia, Spain, 1992

Folder 7: BEVA Seminars and Workshops: Instituto Tecnico de Restauro, Sao Paulo, 1993

Folder 8: BEVA Seminars and Workshops: West Lake Conservators, Skaneateles, New York, 1993

Folder 9: BEVA Seminars and Workshops: Art Restorers Association, The Netherlands, 1995

Folder 10: BEVA Seminars and Workshops: R. Levenson Art Conservation, K. Yager Fine Art Conservation, New York City, 1996

Box 5:

Folders 1-2: Conference on Lining Techniques, National Maritime Museum, Greenwich, England, 1974

Folder 3: “The Conservator-Restorer: A Definition of the Profession,” no author, 1984

Folder 4: Public lectures and professional presentations: AIC, Baltimore, 1983 – “A New Support and Mounting System for Mural Paintings: Treatment of the Vanderlyn Panorama,” by Peter L. Fodera and GAB

Folder 5: Public lectures and professional presentations: AIC, Baltimore, 1983 – “Vacuum Lining without a Membrane”

Folder 6: Public lectures and professional presentations: Bezalel Academy of Arts and Design, Jerusalem, “The Artist and the Conservator: Understanding Each Other’s Needs,” March 8, 1995 [copy of talk is not included]

Folder 7: Public lectures and professional presentations: Buffalo State College Art Conservation Department, November 2, 1990

Folder 8: Public lectures and professional presentations: Courtauld Institute Institute of Art, May 18, 1989, “Investigation into the Deterioration of Surfaces Exposed to Environmental Changes and Their Implications for Conservation”

Folder 9: Public lectures and professional presentations: Centro de Arte Reina Sofia, Madrid

Folder 10: Public lectures and professional presentations: Metropolitan Museum of Art: speech to celebrate completion of restoration of Vanderlyn Panorama, 1983

Folder 11: Public lectures and professional presentations: New York Conservation Association, Jan. 12, 1994, lecture: “Effects of the Environment on the Deterioration of Paintings on Canvas,” Institute of Fine Arts, New York University

Folder 12: Public lectures and professional presentations: Rome and Naples, May 21-22, 1991

Folder 13: Public lectures and professional presentations: Round Table Conference on the Conservation of Modern Art, Mantova, May 26, 1989 – speech and newspaper clipping

Folder 14: Public lectures and professional presentations: Vienna, Austria, townhall, “Effects of the Environment on the Preservation of Paintings,” May 1990

Folder 15: Public lectures and professional presentations: Winterthur Training Program in Art Conservation, February 8, 1989

Folder 16: Resume, list of publications, various honors, etc.

Folder 17: “Detrimental and Irreversible Effects of Wax Impregnation,” by GAB and H.I. Zeliger, 1975

Folder 18: “Interaction between Canvas and Paint in Response to Environmental Changes,” by GAB and W.H. Russell, 1994

Folder 19: BEVA Seminars and Workshops: Cooperstown Graduate Programs, 1973

Box 6:

7 cassette tapes of Berger’s workshop/seminar for conservators presented at R. Levenson Art Conservation, K. Yager Fine Art Conservation, New York City, 1996

[see also Box 4, folder 10] (acc. 07x83.1-.7)

Videotape (VHS format) of Berger talk given in Atlanta [perhaps about the conservation of the Cyclorama in Atlanta] (acc. 07x83.8)