Name/Title
First GriefEntry/Object ID
96.3.2Description
"First Grief," Italian, c.1857, white marble.
Sculpture of Young Boy in a Toga. He holds a dead bird. The bird's nest with eggs are at the base of the tree stump. A snake emerges from its hole near the child's feet. Child stands on a richley textured ground and leans against a tree stump. Sculpture stands on a faux marble columnar base.Collection
Historic Charleston Foundation CollectionAcquisition
Accession
96.3.Source or Donor
The Charleston MuseumAcquisition Method
TransferLexicon
Nomenclature 4.0
Nomenclature Primary Object Term
SculptureNomenclature Class
ArtNomenclature Category
Category 08: Communication ObjectsOther Names and Numbers
Other Numbers
Number Type
Other NumberOther Number
953Dimensions
Height
39-1/2 inWidth
14 inDepth
14 inDiameter
12 inDimension Notes
[height]40" __[length] __[width]14" __[depth]14" __[diameter] __[size] __[other]
Pedestal: 45" (H)
19.75" by 19.75 (W)Location
Moved By
Jill Beute KovermanDate
June 25, 2002Notes
Until: / /Moved By
RedDate
April 23, 1998Notes
Until: / /Category
PermanentCondition
Overall Condition
GoodNotes
Cleaned By Shelley Reisman Paine in November 1997. the Structure Appears Stable and There Is No Apparent Active Biological Damage. There Are No Apparent Areas of Loss, Deformation, Insecurity Or Repair. See File For Report DetailsNotes
Structure: The sculpture is made in two parts, the head and body. The stone is compact, coherent, and fine grained. The surface has a fine polish that provides a high luster to the sculpture.
Surface: A thin layer of airborne dirt, grime, covers the surface. There are no areas of surface deformation, accretion or insecurity at this time.
Damage Information: There are minor areas of loss along the perimeter of the object and base. There are no structural deformations apparent at this time. There are moderate and major accumulations of dirt, pollution and smoke residue in recesses of the design, and on the underside of the design causing the color of the stone to appear dark gray. There is minor abrasion overall. There is no apparent biological damage.Conservation
Treatment
Conservator
Shelley Reisman PaineNotes
Scope of work: Pre-treatment examination and identification: A technical examination, conducted by the conservator, will be performed to reflect aspects of manufacture and material identification to verify and augment what is currently known about the object. This examination will also include identification of post-collection deterioration, treatment or alteration. This information will be used to to design the final treatment proposal. The proposal above is an approximation of the materials and techniques needed for treatment. Curatorial collaboration is needed to define the full scope of the treatment proposal. No unneccessary measures will be taken and every effort will be made to maintain the research potential of the object. Treatment will be performed only after final examination of the object and receipt of written approval from the owner. Any alteration to the final treatment proposal and release will be discussed with the owner for approval.
Test: Perform solubility tests to determine safe an appropriate treatment materials to remove grime and accretions without harm to the stone.
Clean: The sculpture and base will be cleaned with a low suction vacuum on the surface of the object to remove loose surface debris. Surface accumulations will be removed with a gentle misting of filtered water and soft brushes. Removal of surface soil, stains, and grime will possibly be done with any of the following: a misting system, application of a .05% non-ionic detergent, application of ammonium citrate, or an ammonium bicarbonate/sodium bicarbonate solution, All residues will be removed wit pH balanced water applied with a mister, brush, swab or steam. Since the success of the treatment cannot be truly assessed until it is tested and performed, this proposal only provides for cleaning with weak solutions and mild detergents.
Compensate: Areas of loss will be filled with either tinted wax or a wax/resin filler toned to match the color of the stone.
Documentation: The condition and treatment of the object will be documented in 35mm color slides and in written reports.
Cost: 1200Provenance
Notes
Collected By: Aiken Family
sculpture similar to "The Broken Tambourine" in the James H. Ricau sculpture collection at the Chrysler Museum of Art, Norfolk, VA.Exhibitions
Exhibition
2Notes
Exhibit Start: 2004-06-07General Notes
Note
Notes: Research notes compiled by Renee Marshall between 1996 and 1999: Although There Is No Confirmation, the Sculpture Is Quite Similar To the Work of Joel Tanner Hart (1810-1877) , a Kentucky Sculptor Who Established a Studio in Florence, Italy. Research Follow Up Needed.
Status: OK
Location Details1: 1Created By
admin@catalogit.appCreate Date
April 23, 1998Updated By
sferguson@historiccharleston.orgUpdate Date
March 30, 2023