The Curator’s Handbook by Adrian George

Author:Adrian George
Language: eng
Format: epub
Publisher: Thames & Hudson
Published: 2015-03-14T16:00:00+00:00

Display furniture

There are three main types of display furniture: the plinth, the vitrine and the display case. A plinth is usually a square or round column that supports one or two objects. Vitrines are table-like items that display objects under a hinged glass or acrylic cover. They come in many different forms, from the dark wood, ornate varieties often seen in the most traditional museums, to modern table-top versions, which can be mounted on steel legs or a plinth base. New vitrines today are likely to be hinged with hydraulics, making lifting the often large and heavy lid much easier. These cases are lockable and sometimes come with internal climate control and lighting … which can be a blessing or a curse. The ‘vitrine bed’ – the part of the case where the objects sit – is often covered in fabric, and can be changed according to exhibition design; it can sometimes be tilted to make it easier for visitors to see what is displayed. If you have the budget it might be possible to have a display case made to your exact specification and built into your exhibition space. Display cases can be built into a space, or be freestanding. They tend to be mostly glass or acrylic and may contain shelves in order to present multiple objects or even items displayed within a scene.

Most display furniture can be made from hollow MDF boxes, often painted (sprayed) white. These can be made with shadow gaps if required and fitted with windows and / or acrylic (Perspex / Plexiglas) covers to protect any displayed object. Construction of the cover can vary. Either four flat pieces of acrylic are glued together with a fifth piece glued on top or one long piece is folded into a U shape with two pieces of acrylic glued to the sides to seal it. The most expensive option is to have the edges mitred so that the glue line is very neat … and to use a specialist acrylic that has been developed to have excellent visual clarity, UV protection and minimal reflection, making lighting objects on the plinth much easier.[117]

The bottom edge of the plinth lid or vitrine cover rests in a small recess at the top face of the plinth or bed, cut into the sides. This allows for the cover to be secured with a few screws, passed through pre-drilled holes in the acrylic and into the plinth.[118] Objects on a plinth are sometimes fixed in place to the vitrine bed with ‘museum wax’ – a blend of waxes that can be used safely on crystal, porcelain, marble, glass, ceramic and wood finishes as a temporary ‘glue’ to hold items in place and to prevent objects moving if a plinth or shelf is jolted.

One of the biggest challenges most curators face when working with and planning for plinths is to decide on their dimensions, including those of their covers. If you are on a tight budget, you may have to make do with whatever plinths the gallery you are working with happens to have available.

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