From storage to exhibition
In the conservation studio of The Phoebus Foundation, we meet Maron Zwakman, junior conservator. In her role, she oversees the Foundation’s outgoing loans, a responsibility that has grown steadily in recent years as an increasing number of works from the collection travel nationally and internationally to be presented to the public. In some cases this involves a small selection of works, while in others it extends to entire exhibitions. Recent examples include Saints, Sinners, Lovers, and Fools at the Royal Ontario Museum in Toronto, Garden of Delights. The Seventeenth-Century in Bloom at the Kadriorg Art Museum in Tallinn, and the recently announced exhibition Wonders of the World – From Maps to Masterpieces, opening at the National Museum of Oman in late 2026.
Careful preparation in every detail
Before an artwork can set off on its journey, it goes through a careful, multi-layered process. One of the first steps is assessing whether the object can travel at all and whether conditions at the host institution are suitable. The team then looks in detail at what the artwork needs to be transported and displayed safely. This may involve adapting the frame, designing a bespoke plinth to provide proper support, or using a climate-controlled case. In some instances, conservation treatment is required before the work can travel.
A key part of this preparation is the condition report, which carefully records the state of each object. This makes it possible to spot and address any changes that may occur during transport or while the work is on display.
A practical example: Jean Brusselmans in Brussels
At the moment, Maron is preparing a painting by Jean Brusselmans for an exhibition at BOZAR, opening in October 2026. The work requires particular care due to fragile, lifting paint flakes and a soiled paint surface. Through careful surface cleaning and the consolidation of the paint layers, the painting is being stabilised so it can be safely displayed in optimal condition.
Care upon return
Even after an exhibition has closed, the care of the artworks remains central. At the end of January 2026, Tuin der Lusten came to an end at the Kadriorg Art Museum. For this exhibition, Maron and her colleagues travelled to Estonia to oversee the deinstallation of around 300 objects, ranging from paintings and textiles to taxidermy.
On site, assessments were made to determine which works would require additional attention upon their return to the depot. In this way, every artwork, even after an intensive period of travel and display, could be stored safely and in optimal condition once again.
Behind every exhibition and loan lies a carefully coordinated process that largely takes place behind the scenes. In the conservation studio of The Phoebus Foundation, artworks are prepared to travel safely, be displayed responsibly, and return in optimal condition once an exhibition has ended. In this way, the collection is cared for with the same attention and expertise wherever in the world it is presented.