Conservator Pieces It Back Together

Bruce D. Mason, a Barrington conservator, never planned to spend his life preserving old objects.

Instead, Mason planned to enter the fields of chemistry or physics that he studied at Brown University. He ended up graduating from Brown with a degree in economics in 1972.

After graduation, Mason worked as a navigator in the Navy. When he was discharged in 1976, he made a discovery that would change the course of his life. 

“I took a couple of years off and pursued a variety of interests, including restoring damaged objects,” said Mason. “I found I enjoyed working with my hands.”

When he began job hunting, Mason approached conservator James Wermuth in Newport. The men arranged with the VA to create a one-off opportunity for Mason to receive a four-year apprenticeship with Wermuth, and a new conservator was born.

During his two decades with Wermuth -- Mason left to open his own conservation business in 2004 in Barrington, he worked on some fascinating pieces of history, including the printing press that Ben Franklin reportedly learned to print on during his apprenticeship with his older brother, James, in the early 1720s. The James Franklin printing press is believed to be the press that the first newspaper, ‘The Newport Mercury’, was printed on beginning in 1758.

Mason helped moved the press from its previous location in Philadelphia, then treated the many “indignities” suffered by it, before moving it to its current location at the Newport Historical Society’s Museum and Shop at Brick Market.

Part of the thrill, for Mason, when working on an old piece like the press, is to see the mechanics of it. He enjoys seeing the historical development of material culture through the pieces he works on, and is proud of what conservators can do to preserve history intact. 

Because the goal of a conservator is to retain as much original material as possible, much of his time is spent stabilizing deteriorated elements rather than replacing them. While that work will improve the serviceability of an object, it often doesn’t dramatically change its overall appearance. But aesthetic appearance is important, so surfaces are cleaned and introduced materials are blended in.

Even if there is good evidence as to what the object looked like originally, which is rare, the materials that comprise the object have changed over time and an “as new“ appearance is often not obtainable. Frequently, the goal for conservators is to return the piece to an aged but well-cared-for appearance. 

“The client is always welcome to drop by and see the piece as I’m working on it,” said Mason, “so they can see for themselves how the time and effort that goes into conserving the object is being spent.”

Part of that time may involve selecting and milling just the right piece of wood to replace a missing piece of marquetry, or mixing the perfect match of epoxy to glue an antique glass chandelier.

Mason said one of the most important parts of conservation is often just preventing an object from deteriorating in the first place, with moisture and sunlight being big culprits in deterioration. So, he will teach his clients how to care for their objects, as well as documenting any and all work and materials he may have used during the process of conserving their item.

“In discussions with the owners, whether they’re a museum or private client, we’re advocates for the objects," said Mason. “As conservators, we strive to protect their condition and integrity.” 

For this conservator, his enjoyment is found in respecting the old, and puzzling out how to make the new appear part of the original.

“I don’t mind that a lot of time, when I’m all done, a client won’t see much change in the object," said Mason. “That’s the goal, after all.”

Mason is always willing to discuss the appropriate care of your valued objects. He can be reached at (401) 246-2406.