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Number 27 FALL 1994 TEXTILE CONSERVATION NEWSLETTER TABLE OF CONTENTS

"FROM THE EDITORS" 1

TEXTILE OPEN STORAGE AT THE MUSEE ACADIEN 2 MISCOUCHE, PRINCE EDWARD ISLAND Reginald Porter

CONSERVATION RIGHT NOW! 5 Evelyn Payton Tayler

DUST COVERS 7

Leslie K. Redman and Helen Holt

FIBER mENTIFICATION 9

Jane Merritt

THE FANCY WORK OF GODEY'S LADY'S 1840-1859 12

FINDER'S AIDS NOW AVAILABLE ON MICROFICHE Barbara Mcintyre & Ruth Mills

AN INVESTIGATION INTO THE CURRENT USE AND 16 APPLICATION OF ADHESIVES IN TEXTILE CONSERVATION Ela Keyserlingk & Lynda Hillyer

DYEING SAFELY 17

MASTER'S THESES RELATING TO AND MATERIAL 24 CULTURE AT THE UNIVERSITY OF ALBERTA

THE TEXTILE CONSERVATION CENTRE: ABSTRACTS 26

OF FINAL YEAR PROJECTS

ANNOUNCEMENTS 33

TCN SUBSCRIPTION INFORMATION 35

TCN SUBMISSIONS 35

Number 27 Fall 1994 TCN

ROM THE EDITORS and also on the last page of this issue. THE NEW TEAM In our last issue, we made a plea for new leadership on the Textile Conservation LESLIE REDMAN is the Assistant Newsletter. We are pleased to announce that Conservator in the Dress and Insignia Lab at the newsletter is able to continue, and has the Canadian War . A recent been taken over by a new enthusiastic team graduate from the Masters in Art of three co-editors. They are Helen Holt, Conservation Programme at Queen's Dress and Insignia Conservator, and Leslie University in Kingston, Ontario, she worked Redman, Assistant Textile Conservator b6th in the General Artifacts lab at the Canadian at the Canadian War Museum, and Lesley Museum of Civilization in Hull, Queb6c until Wilson, textile artist. They look fonvard to moving to her present position in May of taking the helm of TCN and will begin with 1994. She enjoys trying all forms of the next issue. The current team of editors and is particularly interested in would like to thank these three for coming old needlework magazines or forward. instruction and composition or This issue presents articles on a range advertising dolls. of topics which affect conservators. Dyeing LESLEY WILSON has been in the Safely brings attention to the health hazards textile business as an entrepreneur, teacher posed by using dyes and gives safety and artist for a number of years and is recommendations. Conservators share their currently specializing in and free solutions to problems in articles on textile motion, machine . She has edited storage, dust covers for large vehicles, and and produced a textile related newsletter in conservation of reproduction costume. We the past. She is interested in all facets of are also featuring an article on fiber textile production and decoration and collects related material. She has a fondness for identification reprinted from the Textile Society of America Newsletter. inexpensive snowballs (snow scenes in glass Bibliographic information is brought together or plastic balls) and admits to having 37 of them. in this issue with an index of Master's theses in conservation done at the University of HELEN HOLT has 15 years Alberta, and one of conservation studies done experience as a practicing conservator both in at the Textile Conservation Centre at private practice and museum labs, working in Hampton Court. Another article discusses a Canada and abroad. She has specialized in new microfilmed index of Godey's Lady's textiles but firmly believes the way of the Book. future lies in a diverse background of Your outgoing editors, Eva Burnham, experience. She is currently Senior Cynthia Cooper, and Ruth Mills wish to Conservator in the Dress and Insignia Lab at thank all our subscribers for your continuing the Canadian War Museum which includes support of the newsletter. Please take the work on medals, military headgear, leather time now to renew your subscription for accouterments, boots, and uniforms. She 1995-96 - our new Ottawa address and rates enjoys sewing for pleasure and has a definite can be found on the enclosed renewal form, fondness for dogs.

Number 27 1 Fal 1 1994 TCN

construction of the new museum, had EXTILE OPEN STORAGE AT experimented with various thematic displays. The result was that, more and more, artifacts THE MUSEE ACADIEN, that were irrelevant to current displays were MISCOUCHE, PRINCE EDWARD placed in a tiny storage area. This caused ISLAND unhappiness in the community because donors and their families wanted to see what

In June of 1991 the Muse6 acadien at they had given whenever they chose to visit Miscouche, Prince Edward Island, was the museum. nearing completion. This large modem facility, the most sophisticated to be built on The other issue was an educational the Island since the Confederation Centre of one. The Board and believed strongly the Arts in 1964, was the result of years of that visitors with special interests should be dedicated lobbying, planning and the able to view the entire , or at least auspicious conjunction of museum and portions of it, with relative ease, while the political stars. security of the collection was maintained. In spite of advice to the contrary from this The Museum was designed to be a consultant, it was found necessary in the end multi-purpose building with facilities for a to locate all the different collections in one permanent exhibition on the history of the room of 137.5 square metres. Acadians on Prince Edward Island, as well as space for changing exhibitions and Further complications arose from a educational activities. The Museum was also desire to make all space as flexible as to serve as the home of the Centre des possible. Next to the 137.5 square metres of Emdes acadiennes (primarily an important designated storage space it was decided to genealogical facility with storage for the install a movable wall that could be extended museum's archival collection) and sufficient into the storage area to gain an additional office and administrative space. At the back 43.75 square metres of exhibition space in the of the museum there was a receiving / temporary gallery. This provision was workshop area near the various mechanical designed to accommodate possible large systems. Most significant of all, there was to travelling or temporary exhibitions. This be an open storage facility. meant that, to keep the appearance of the extended temporary gallery consistent, carpet This concept arose from a desire to had to be installed in that area extending into solve problems concerning strong local storage. It also meant that the storage area feeling and educational policies. The original might have to be compressed into an area of Muse6 acadien had been established in 1964 93.75 square metres. at a time when museums were new on the Island and when they tended to resemble a The challenge of an open storage community attic. The Board of the new concept that went against current museum museum wanted to depart from the practice practice (in that various categories of artifacts of exhibiting everything in the collection at would not be physically separated) was once, and in the several years preceding the frustrating yet exciting for the designer.

Number 27 2 Fall 1994 TCN

Knowing that no other alternative was The problem of designing textile acceptable to the board the solution illustrated storage units that would match all the other below was proposed. units for the remainder of the artifacts in the collection was a difficult one. A collections analysis was conducted, and it was found

r possible to gage the amount of space needed 1.1.1 1.1 Cl: in for all the other categories of objects that, following current practices, would be grouped IM. J './ together. This called for a variety of storage 1 -U = 1-1 units, all glass fronted, all lockable, all PLAN = capable of adequate low-level illumination, 0 1:100 all capable of many combinations of storage - H 1 solutions within their spaces, and all suitable i /17-1 H for the types of artifacts they would contain. 1- Ultimately, the solution consisted, as can be 11 1-=1 seen in Figure 1, of designing four types of L------wall units, labelled A-D. Large objects, such as looms, small kitchen and heating stoves, Figure 1 - Plan of the open storage area with a movable larger pieces of furniture etc. Were intended wall rApahle of increasing theitemporary exhibition space. to be arranged in a pyramidal display on a Figure 1 - Plan of the open storage area with series of bases of several standardized a movable wall capable of increasing the heights. The bases could be used alone' or in temporary exhibition space. combination depending upon the size of the artefact to be displayed. The possibility of As can be seen in the plan, the 43.75 mobility had also to be kept in mind, and so, square metres area that could be taken over heavy concealed casters were placed on all for additional exhibition space, and which larger base units. was carpeted to match the adjacent gallery, provided a storage area for the museum's At the beginning of the planning very important collection of framed portraits process for this project the current literature of notable Island Acadians. These were was studied in order to provide an up-to-date attached to steel and mesh panels mounted on concept and to avoid as many mistakes as heavy casters so that they could be easily possible. The Canadian Conservation Institute moved or realigned when the wall was in Ottawa, with the particular assistance of extended back. Eva Burnham, then a Senior Conservator in the Textile Division, provided the current The textile storage area was kept in a basic bibliography of relevant material on the tight grouping that permitted a number of open storage concept. In the,end, it was an arrangements, including displays in plexi- article by Jacqueline Beaudoin-Ross and Eva covered drawers, mannequins in tall glassed- Burnham, "Recent Trends in Costume and in cabinets, and the possibility of the Textile Storage" that provided the most storage/display of properly supported smaller important information about the problems textiles. facing the museum at Miscouche. Car!

Fall 1994 Number 27 3 TCN

Schlichtling's illustrations for this article, that the Prince Edward Island Museum was combining both practicality and aesthetic experiencing serious difficulties with insect elegance, provided the basic design concept infestation for just that reason. The for the open storage units at the Muse6 construction of the various display units was acadien. very well executed by local contractors, who employed materials and . finishes The following specification drawings recommended by the Canadian Conservation illustrate the various types of units proposed Institute. There was only one technical for the Muse6. problem, (and it had been identified as a

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UN:T TYPE- E- TD(TILE STORAGE UNITS DISPLAY TOP & DRAWERS BELOW

Figure 2 - Design, adapted from Schlichting, possibility from the start): to save money the for displaying textiles in glass-topped cases contractors used sliding tracks that could not and drawer units. support the heavier weights, so there will always be difficulties in opening and closing Keeping in mind that the storage area the larger plexi-topped drawers. Due to was also a display area, the components were staffing shortages the dream of open storage designed to be arranged in various ways so as an attractive yet functional part of the that the material on view could change at museum has, to date, only been partly various intervals. A tall mobile glass-sided realized. The original proposed lay-out was case was designed so that a life-size not followed and the movable wall became a mannequin could be exhibited displaying a permanent one in order to enlarge the complete costume. adjacent gallery space. The racks containing the historic Acadian photographs were placed From the beginning the financial and in the large genealogy workroom and receive spacial necessity not to isolate the textile too much light. collection from the rest of the collection was Figure 3 - Mobile glass-sided case large a cause for anxiety. It is a well-known fact enough to display a life-size mannequin.

4 Fall 1994 Number 27 TCN

PORTABLE VERTICAL TE)(ITLE DISPLAY UNIT UNIT TYPE r

ONSERVATION RIGHT PL'ra©00 5,«IATMIC SHU BE . SOX© %NT[ 8/ NOW!

Sometimes the need to conserve can - - pop up when one least expects it. In May 1994, the McCord Museum of Canadian C hA GUS - = 6461 History provided Montrealers with a unique opportunity to discover the little known world 7! v WIDE HARO000 DOOR IlrgomaSE 'C TE,01 .c,rrr - $ -8 *0 RALS of William Notman's Composite photographs. #LL LOCXS BI KIYED 4/.C Limited by technology, nineteenth 'r century photographers were unable to photograph large numbers of individuals at

\.,/NPRO¥CE 4 HEUY DUTY the same time without running the risk of C#STERS PER W CONCEALED UNOCI 66E blurring large portions of any given scene. Exposure times were lengthy and those In the end the concept, with its standing near the edges of a photo were obvious limitations and undesirable features, invariably out of focus. To overcome this seemed to provide an answer to the textile problem, especially in an era when the rising and other artifact storage problems at the bourgeoisie was desperate to be counted Muse6 ornrlien. The original proposed amongst those attending highlights of the arrangement (Figure 1) would have provided reasonable spacial isolation for the textiles within the larger groupings of the of the collection, whose rate of growth has slowed due to a scarcity of Acadian artifacts and a /2329&/4,42-21211883<% more rigid acquisitions policy recently formulated. 0-1 / 716,41·J ' --

Reginald Porter is a heritage consultant who lives in Charlottetown, P.E.I. /%&rn ve-. dr Bibliographical Note 0,#SW 983'(00= Beaudoin-Ross, Jacqueline, and Burnham, Eva. "Recent Trends in Costume and Textile Storage," Textile Conservation Newsletter, Supplement to the TCN, Spring 1990.

social season, Notman devised an ingenious system of recording a person's likeness. In 1870, for example, anyone attending the

Fall 1994 Number 27 5 TCN

Skating Carnival in Montreal could be seen by the children and adult male, those in the rubbing shoulders with the guest of honour adult female presented a real problem. Even who was none other than the Prince of with the greatest care, it was virtually Wales. By photographing each sitter impossible under rushed conditions to prevent individually in his studio according to a the small hooks of the velcro from constantly predetermined grid and scale, Notman was pulling on the outer layer of the bodice and able to arrange and paste images of guests left hand sleeve. - against an artist's version of the original background so that interested individuals With only one technician on site to could purchase a souvenir of the event in any take photographs and help family groups in -one of three different sizes. and out of costume it came as no surprise that the closely fitting woman's costume was In keeping with the McCord soon showing signs of wear and tear. On Museum's current move to create a more Open Museum Day alone, over 100 groups interactive environment for its visitors, The posed for their portrait "in" the Allian World of William Notman includes a mock- family's fashionable drawing room. up of Notman's studio as well as an installation where visitors can become part of Under normal circumstances a boned a composite photograph themselves. Dressed bodice based on two layers of sturdy cotton in period costume and projected against a Mill can be used for several seasons and section of the Allen family's private drawing even stand up to alterations. Within one room of 1884, visitors can experience what it month however, both the sleeve and the was like to dress in the restrictive clothing of bodice had been pulled to such an extent that the Victorian era as well as gain a better they needed to be replaced. Although there understanding of how a composite was made. was adequate material to recut and reset the left sleeve, there was not enough to replace Creating the four costumes used in the damaged side and back panels of the this installation presented no real problem as bodice. the author had worked as a design assistant and cutter for theatrical companies such as the Canadian Opera and the National Ballet. 9 The fact that each costume had to accommodate every size and shape did however add a new dimension to costume /8 \: , reproduction. How does one provide garments / 67 \ for one male and one female child from age / ipl 11 2 to 14, one adult male, size 32 to 46 as well as a single fitted bodice and bustled skirt forl 01 1,La0 *rL' women ranging from size 6 to 18? SorrBY TROUSER BARS While expandable seams attached by *Y.A , horizontally placed strips of velcro proved -El / adequate for expansion in the garments worn

Fall 1994 Number 27 6 TCN

To prevent any further deterioration at risk during the process of removing this all four strips of velcro, were removed gritty dust. In an effort to prevent the carefully trimming any pulled or tangled necessity of doing this work again a request strands of fabric, all damaged side, and back was given to the Textile Lab to make up dust panels were overlayed with individually cut covers for these three vehicles. and fitted panels of peach coloured crepeline. As the repairs had to be completed within a All f these vehicles are rather large. few hours, picking apart and recovering each One is a large staff car, another a fire truck panel was out of the question, so turning in and the third is a halftrack truck. In order to the seam allowances and securing them obtain some measurements by which to invisibly yet strongly by hand appeared to be -- the only practical solution.

To enable the technician to fit the skin and bodice to a variety of female shapes without the aid of velcro, the overlapping central back panels were secured with ·b conventional trouser hooks and bars. While 1 Lk an exact fit was no longer possible in all cases, this method of closure allowed enough flexibility and above all sufficient strength to ensure the costume survived until the end of 15@ 1 f5*1 the exhibit in January 1995. 6.1 4£

Evelyn Payton Tayler Costume Historian and Reproduction Costume Beaconsfield, Qu6bec custom fit the covers we placed poles at either end of the vehicle and stretched a D UST COVERS string across the vehicle at the highest point. We then proceeded to take a series of measurements down from this string to plot In preparation for the D-Day open the outline of the vehicle. These house at Vimy House our warehouse storage measurements were recorded and roughly area, al 1 hands were required to clean the graphed. Additional measurements of length vehicles parked there. Because this is a and width were taken. We deliberately kept large, open area where vehicles are driven in the silhouette simple to allow for ease of and out and which itself is often open to the placement and removal. outside, there is a large amount of particulate matter deposited on the parked vehicles. Tyvek, a non-woven, bonded Three of these vehicles have been restored polyethylene, was chosen because it is and have highly finished surfaces which were durable, lightweight and available in a 150

Number 27 7 Fall 1994 TCN

cm. (60 ") width. It made cutting the large snagging on protuberances. The addition of a pieces easier because there was no concern dust ruffle seemed a logical extension and for bias or fraying. The simple shapes also worked very well. One could also extend the took into consideration the lack of ease in side panels although this would not be as this material. Large pieces of Tyvek were visually pleasing as a ruffle or box pleats! laid out on the floor to the maximum length We initially made these covers in a single required and the appropriate measurements piece but this proved difficult to manage marked and cut. given the size of the vehicles and the fact that they were often being dealt with by one All of the pieces were sewn with a person. To improve on this we made them five thread serger to provide maximum into sections which were attached to each strength along the seam line as these covers other with velcro. We were able to make one will be pulled on and off by one or two cover a day easily with this straightfonvard people. All seams were kept to the outside to method. The addition of rosets are optional. provide a smooth surface next to the vehicle (Tyvek is available from University Products) itself. It was initially requested that we elasticize the bottom to help keep dust out Leslie K Redman and Helen Holt but it was felt that elastic would make it Textile Conservators, Canadian War Museum difficult to pull the cover off without Ottawa, Ontario

Fall 1994 Number 27 8 TCN

and 17th centuries are made with linen FIBER IDENTIFICATION threads.

INTRODUCTION Certain fiber processing techniques affect surface appearance and may also help to indicate fiber type; for example, a worsted FIBER IDENTIFICATION -finding wool is spun from only combed long out the raw materials that make up a textile-is staple fibers that produce a smooth yarn with one step in a process that can lead to shiny qualities. A fabric woven from this determining the , age, etc. of an yarn and possessing similar qualities would interesting textile of unknown date or origin. be different from one woven from ordinary It is also basic information essential to "woolen" yarn which lacks sheen and may assessing a fabric's condition, identifying have a soft fuzzy texture. A fabric woven possible causes of its deterioration, and from a specialty hair fiber, such as alpaca or developing treatments. Fiber type may be cashmere, differs from one made of sheep;s identified by simple procedures, such as burn wool because the surface structure of these tests or those, such as electron microscopy, hairs is different from the hair fibers of that require specialized equipment and sheep. Although animal hair fibers are training. (Note that in this article, the term similar, they can be distinguished under a "fiber" will be used, without making the microscope because of differences in surface technical distinction between "filament" and characteristics and the appearances of their "fiber".) The more specialized the test, the cells in a transverse section. more information it can provide. A bum test is an easy way to distinguish silk from flax. FIBER IDENTIFICATION TESTS However, a microscopist using a polarized light microscope can confirm that it is silk After the initial visual examination of and tell if it is from a cultivated or wild silkworm. a textile, physical, chemical. and microscopic techniques are used to identify fibers. When a fiber is difficult to identify, a combination Every study of a textile should begin of techniques may be used. Fibers are with a visual examination. The observations categorized according to their origin, whether you make about a fabric are influenced by they are natural or from a synthetic source. your training and background experiences. Natural fibers are then further divided into Whether or not you realize it, you have three types: (1) animal (protein) (2) vegetable accumulated information about fibers: you (cellose) (3) mineral. All fibers whether detect a sheen characteristic of silk or a color natural or synthetic can be identified using particular to unbleached flax, noting at the the following tests; however, a high level of same time surface texture, weave structure, practice and experience is required to drape, and other qualities that may suggest distinguish among the synthetic fibers history and use. In many instances, certain because they lack easily recognizable features fibers are closely associated with a textile such as scales or nodes. fabrication technique or place of origin; for instance, all white European of the 16th

Number 27 9 Fall 1994 TCN

THE PROBLEM SIMPLE FIELD TESTS

Assume that your fabric is cream A burn test is a simple procedure colored (meaning undyed), with a slightly needing no specialized equipment. It will fuzzy surface appearance, due to its fiber type give a rough identification of fibers, or perhaps as a result of surface abrasion. Its distinguishing between animal and vegetal structure is a plain weave with no fibers but not among variants within the same distinguishing features. Fiber identification class of fiber. The test is performed with a might suggest its country of origin, date of very small sample (approximately 1 cm. long) manufacture, or it may not provide any of the fiber held with tweezers. The reaction significant information. If, for example, the of the fiber to a flame source, usually a fiber is identified as alpaca you could focus match is observed. Protein fibers release a your research on the geographical regions characteristic odor similar to burning hair, where this animal is used in textile they extinguish when the flame source is production. removed, and a small crushable black bead remains on the tip of the fiber. Cellulose If, on thf other hand, the sample is fibers burn readily and will continue to burn identified as cotton and the cotton is further after the flame has been removed leaving recognized as mercerized, we would have feathery ash. This test can also help to acquired valuable information, for in 1850 identify man-made and synthetic fibers but John Mercer, having developed a procedure their behavioral characteristics are more to increase the luster and strength of cotton, subtle, and some experience is necessary to obtained a patent for this process known as distinguish these fibers with confidence. mercerization. Since patented processes and products are not always available when the If the burn test identified a sample as patent is granted, follow-up research is a vegetable fiber, the Drying Twist Test can needed to determine when mercerized threads refine the identification. Some bast fibers became available in the marketplace in order have a naturally occurring characteristic twist to further narrow the time period of the which can be observed as they dry from a textile's production. wetted state. Flax and ramie will display an S-twist and jute and hemp will show a Z- Similarly, if the sample is determined direction rotation. to be merino wool, a fiber common to many cultures and geographical regions, fiber These tests need no special equipment identification is step one in a research process and can be performed in the field. They are that will need other information to discover very helpful to at least broadly identifr fibers the history of the fabric. If no other tests are in a textile. In order to refine any warranted and there is no other identification to include the exact origin of accompanying information, fiber analysis will the fiber, further analyses require not help you determine the textile's origin. microscopes, chemicals, and a laboratory.

Fall 1994 Number 27 10 TCN

MICROSCOPIC TECHNIQUES 30,000 times the sample size. Surface characteristics achieve a three-dimensional Optical microscopic examinations use quality under the high magnification, which · compound microscopes with transmitted light is particularly helpful when working with sources. Tiny fiber samples placed on a slide very deteriorated fiber samples. Obtaining and examined under high magnification, access to this equipment can be difficult, typically between 100 and 1000 times, can however, a local university may be willing to help identify specimens based on known provide assistance and will "sell time" and characteristics, such as the presence of scales, provide a technician to do the analysis. nodes, or convolutions. More sophisticated Private businesses, such as medical research microscopes use a polarized light vibrated and development firms that own SEM parallel or perpendicular to the axis of the equipment, may be willing to provide their fiber and may make some fibers recognizable services to local researchers and museums in because of the way they react to this light the community. source. Physical characteristics are noted and any relevant measurements are taken CHEMICAL TESTS including fiber diameter. In wool and specialty animal hair fibers such as cashmere, Solubility testing is another method angora, and alpaca important characteristics that will aid in the identification of fibers. to note include the size and density of scales For this procedure, fiber samples are placed as well as their arrangement. Other fibers in several different solvents and will dissolve have equally significant identifiable features or disintegrate, depending on the chemical such as the contorted twist in cotton and the solution they are immersed in. smooth surface of silk. For increased certainty and more specific identification, a It is important to know that other tests cross section of the fiber may be necessary. such as staining, specific gravity Related categories of fibers often look very measurements, melting point determinations, similar ina longitudinal view but are and moisture regain analyses can help distinguishable in cross section because of the confirm an identification. These tests are used unique properties of the transversely exposed infrequently when dealing with historic, cells. archeological, and ethnographic textiles as they usually require a large sample size and As tests increase in technical therefore are not covered in this article. sophistication, increased expertise is needed to perform them. Microscopists use other Among commercial sources for fiber techniques to assist them in difficult fiber identification, the best known is McCrone identification. For example, stains applied to Research Institute, 2820 S. Michigan Avenue, a sample may highlight physical properties Chicago< IL 60616, tel. (312) 842-7100. It but expertise is required to select an performs a wide range of analytical tests appropriate stain. useful to textile researchers, supplies probes which are useful for structural analyses, and A scanning electron microscope regularly holds training courses on fiber (SEM) has a magnification between 5 and microscopy.

Number 27 l 1 Fall 1994 TCN

Another resource is Martin N. article should not be considered an Youngberg Enterprise, Textile Research and endorsement by either the Textile Society of Analysis, Lincoln Park, NJ, tel. (201) 694- America or the author. This article was 2958. Mr. Youngberg is a microscopist who reprinted with kind permission from TSA has worked extensively with textile Newsletter Volume 6 No. 15, winter 1994 historians. Jane Merritt

Textile Conservator at the National Park Many museums and universities have Service's Harpers Ferry Center, and T.S.A. microscopes to perform basic microscopic Technical Advisor identification. Interested professors and many graduates students are sometimes willing to accommodate requests for assistance with fiber identification from outside researchers. THE FANCY WORK OF

To familiarize yourself with the GODEY'S LADY'S BOOK, 1840- specific methodology for fiber identification 1859 - FINDERS' AIDS NOW and its application in the study of textile AVAILABLE ON MICROFICHE history, read the following articles: The A pplication of Microscopy to Parks Canada has recently published, 7>r##f Hfyfo,y, M.L. Ryder and Thea Gabra- as part of the Microfiche Report Series, Sanders, Tertile Histo,y, 16 (2), pages 123- finders aids for needlework patterns, 40,1985. instructions and needlework and fashion- Fiber Identijication in Ethnological related articles found in Godev's Lady's Book Tcrrile A mhm, E. Schaffer, Saunes in from 1840 to 1859. Conservation, 26 (1981), 119-129 Fiber Ident(/ica tion in Practice, M. GODEY'S LADY'S BOOK Goodway, Journal of the American Institute for Conservation, Spring 1987, Volume 26, Godev's Ladv's Book was a popular Number 1, pages 27-44 ladies' literary magazine that was published Fibers in Textiles Iden#/ication, in continuously from 1830 to 1898. As with AA TCC Technical Manual, American other ladies' literary magazines, its purpose Association of Textiles Chemists and was to cultivate and inform the minds of its Colorist, Test Method 20-1977, pages 57-62. fair readers by providing literature in the The Ident(fication of Specialty forms of poetry and serialized prose and Fibers,K. D. Langley and T.A. Kennedy, Jr., articles of diverse interest. Many of these Textile Research D:stimte, November 1981, feature articles were related to clothing or pages 703-709. consumer goods. However, they also included Stan,Inrd Methodsfor Identlfication of subjects such as " A Day at the Ship-yard" Fibers in Tatiks, American Society for and " A Day at the Arsenal" to provide Testing Materials, ANSI ASTM D276-77, conversational topics in which to engage page 58. husbands or male acquaintances. There were also biographies of writers and personalities, The inclusion of resources in this music, engravings and testimonials from

Number 27 12 Fall 1994 TCN

happy subscribers and readers. The editors provided mail order services for patterns and frequently announced that considerable care other things to their readers. and expense was taken to acquire the best quality engravings to publish in The LAdv's Godev's was a publication with a very Book. large readership and was available in Canada as early as 1844. In the_1850's there are Practical household information and many references to Canadi-subscribers in fashion news were also presented to assist the the editorial and correspondence columns. wife and mother in executing her expected duties of the home. As part of this practical The editors considered it as a clearing aspect of Godey's in its various forms, the house -for the latest -European fashions, "Work Table" held a prominent position for presenting them proudly as "Americanized" most of The Lady's Book's publishing life versions, although, they often appeared and included patterns, instructions and verbatim. They drew on many sources, both illustrations of the finished items. European and American, choosing what they Needlework was considered a mandatory skill felt would be popular and appropriate for a woman to cultivate and master if she fashions and features for the increasing was going to be a responsible wife and middle class women of the United States. The mother. According to the editors, it was editors selected appropriate styles and items necessary to outfit the family as fashionably from fashion magazines such as La Belle and as inexpensively as possible at the same Assemblee, Le Moniteur des Dames et des time. It was incumbent on a wife not to Demoiselles, Gentleman's Magazine of squander her husband's limited income but Fashion, and Ladv's MaRazine, and still take care of her family's needs. They needlework publications such as The

1 1

Fall 1994 Number 27 13 TCN

Complete Guide to Needle-work and original scope of the project. Embroidery by Miss Lambert (1857) and The Ladies' Complete Guide to . Fancv The Finder's Aids themselves are lists . and Needlework by Mrs. Ann S. of all the entries organized under different Stephens (1854) headings. There are two main categories of Finder's Aids: those where the entries are The styles given in Godey's were for listed by subject, such as collars, footwear, the average woman and her family: " Godey's and children's wear; and those where the fashions are too well-known to require any entries are listed by technique, such as comment. They are of that plain and practical braiding, knitting and embroidery. Every style that grace the streets, and not of those entry is listed chronologically and includes that are merely realized in the the title of the pattern and page number(s) it imagination."[from the Newburgh (Canada) is found on, followed by the volume number, Index. found in Godev's, November 1858, month and year of publication. p.470] The Table of Contents provides a The British magazine that rivalled its quick reference as to where to search for popularity in Canada, The Englishwoman's items. For example, if a list of all the collars Domestic Magazine, was published from for 1857 is required, one would look under 1852 to 1879. It was considered, however, Section EE-4 Collars-1855-59. In most cases, more fashionable and was subscribed to by items will be listed under more than one the well-to-do. heading, usually on a subject list and technique list. A brief description in the STRUCTURE OF THE FINDER'S AIDS Introduction directs the reader to the appropriate headings to consult. The Finder's Aids are the by-product of the compilation of resource files of There were often several pages that needlework patterns and designs for wearing preceded the first numbered page of each apparel and accessories available to Parks issue. 'Before p. _" indicates that in the text Canada's and contractors to use in consulted, the pattern which was found on an developing reproductions or interpretation un-numbered page was located before the projects for animation programs. first numbered page of the issue. These pages however, may not be located in the same All fancy work patterns for wearing place in other copies of individual issues and apparel and household items that appeared in bound volumes. Godev's Ladv's Book from 1840 to 1859 were excerpted and cross referenced. Items Original spelling has been preserved. on additional subjects such as fashion, However, the notation [sic], has not been household furnishings, health and architecture used. were excerpted at the same time to make this one-time search more comprehensive. They Very few patterns appeared without a were also included in the Finder's Aids title. When there was not a title present, one although these topics were beyond the was arbitrarily assigned to the pattern and

Number 27 14 Fall 1994 TCN

was entered in lower case m the document. The contents in "UU. Fashion" and VV. Accessories" are not detailed because the Periodically, brief editorial comments original purpose of the project was to look have been added in parentheses after titles for for patterns and instructions of clothing items clarification. However, sometimes the and not simply the existence of an illustration parentheses are part of the original title. No or short description. differentiation was made between those in the original text and the added editorials. Many copies of Godev's Ladv's Book still exist in libraries and museum collections Considerable care was taken to and the whole series, minus some plates and include every pattern from each issue. short sections, is available on microfilm. It is However, pages or patterns may have been hoped that these finders aids will help missing from the original texts consulted. researchers, curators, interpreters, Where it was obvious that pages were conservators and needleworkers alike in their missing, effort was made to consult either the searches through 40 volumes, 240 issues of microfilm copy or a second original copy to the 20 year period of this popular publication. find the missing pages. Copies of the microfiche The Fancv There are always limitations to this Work of Godev's Ladv's Book. 1840-1859, type of document. The data were captured in Microfiche Renort Series #497, Parks two large blocks of time which were nearly Canada Department of Canadian Heritage, a year apart. Every effort was made to use Ottawa, 1994, by Ruth K Mills, (363 pages), the same criteria for choosing what to capture can be obtained through inter-library loan and under which category to put it. from your library. Limited quantities are available for a nominal fee from: Personal biases are apparent in"XX. Feature Articles". This section grew to Barbara Mcintyre include articles of interest or of some National Historic Sites Publications relevance to needlework, clothing or textiles, Parks Canada social activities, editorial comments, reviews Department of Canadian Heritage and announcements, biographies and 1600 Liverpool Court interesting illustrations and engravings. Ottawa Ontario Canada, KIA OM5 The number of categories grew as work progressed through the material. Initial submitted by: examination of the material to be excerpted did not reveal all the categories required. Ruth K. Mills Some categories may not have been National Historic Sites Directorate necessary and some categories could have Parks Canada been broken down into more than one. Once Department of Canadian Heritage the capturing of the data began, it was not 2630 Sheffield Road possible to go back and reorganize the Ottawa, Ontario categories. Canada, Kl A OM5

Number 27 15 Fall 1994

l\ TCN

but very important in relation to the condition 2N INVESTIGATION INTO of the object being treated. An increased knowledge of application methods in THE CURRENT USE AND application knowledge would result in more APPLICATION OF ADHESIVES IN treatment choices to answer ever changing TEXTILE CONSERVATION requirement.

Many textile conservators in North But how can one learn about new America and Europe are concerned about the application methods? To this end the UKIC use of adhesives. They want to know which Textile Section Adhesive Group devised their adhesives to use and how best to apply them first questionnaire " An Investigation into the to achieve the foremost treatment results. Current Use and Application of Adhesives in Textile Conservation". The results of this New scientific research has been questionnaire should help us identify underway in the conservation adhesive field application methods and conservators who are and new information has become available on willing to share their knowledge with others. adhesives' stability and suitability, For instance, scientists Jane Down at the We ask you to get involved with this Canadian Conservation Institute and Boris project, either by requesting a questionnaire Betzel at the Victoria and Albert Museum for colleagues who may not be on the Textile have made their research findings available Conservation Newsletter's mailing list, but through publications. As a result, we have a most importantly by answering it. We will much better indication of which adhesive can make sure that the information gathered will or should be used for a given textile adhesive be available to all concerned. For treatment. questionnaires or further information, please contact either Lynda Hillyer or Ela However, many textile conservators Keyserlingk. feel that this knowledge is not sufficient to address the wide variety of situations in Please mail the enclosed completed which an adhesive treatment is required. questionnaire in North America to: Despite the increase of scientific information Ela Keyserlingk the choice of adhesive remains narrow Textile Section primarily because our knowledge regarding Canadian Conservation Institute the application of adhesives is limited, 1030 Innes Road Unfortunately, it is not as easy for textile Ottawa Ontario conservators to learn different methods for Kl A OM5, Canada applying adhesives. and in Europe to: Lynda Hillyer There are many textile conservators Textile Conservation who are familiar with one adhesive and its Victoria and Albert Museum application method, but feel rather insecure South Kensington when confronted with a different adhesive. London SW7 2RL Variations in application methods are vast, United Kingdom.

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common salt or Glauber's salt (sodium D YEING SAFELY sulfate) are used as dyeing assistants. The temperature of the dye bath can be simmering (140 F of 60 C), or at a boil. Acid dyeing is Dyeing also done at 90-100 F (32-38 C). Fabric can be dyed in several ways: Figure 1 Glove Box whole cloth dyeing, tie dyeing, resig -- techniques (e.g., batik), painting dyes on Hazards fabric, marbleizing, and silk screening, to 1. In general, the long-term hazards of many name a few. In addition some of these of these dyes are unknown. Many acid dyes techniques are used to. dye yarn and -fibers. were food dyes,- many ·of which have been The type of dye used depends primarily on shown to cause liver cancer in animal studies. the type of fiber. Dye classes used include 2. Glacial acetic acid and concentrated natural dyes, mordant dyes, fibre-reactive sulfuric acid are highly corrosive by skin dyes, direct dyes, acid dyes, basic dyes, vat contact, inhalation, or ingestion. Vinegar and dyes, and azoic dyes. With many of these dilute sulfuric acid are only slightly irritating dyes, dyeing assistants and other chemicals by skin contact; repeated and long-term are necessary. Our data sheet on this topiC inhalation of the acetic acid and sulfuric acid will include a table of known. hazardous dyes vapors may cause chronic bronchitis. by their Color Index number. Splashing hot or boiling dye bath containing acid into the eyes could be highly hazardous. General Hazards 1. Most dyes have not been adequately studied with respect to their long-term hazards, especially cancer risk. The major risk is inhalation of dye powders.

General Precautions 1. Buy dyes in liquid or paste form whenever possible to eliminate inhalation risks. d 2. Mix dye powders inside a glove box (see figure), inside an enclosed hood, or wear a NIOSH-approved toxic dust respirator. 3. Wear gloves when handling dye solutions. 4. If the dyebath is heated near boiling, install a canopy hood over the dyebath. 5. Clean up powdered dye spills by wet mopping.

Acid Dyes Acid dyes are used for wool, silk, and Flture 1 Glo BOX sometimes nylon. Sulfuric acid, vinegar, or 3. Glauber's salt (sodium sulfate) is only diluted glacial ·acetic acid, and sometimes slightly toxic by ingestion, causing diarihea

Fall 1994 Number 27 17 TCN

Precautions have been mordanted with tannic acid. They 1. Use vinegar as a dyeing assistant rather are also sometimes found in all-purpose than diluting glacial acetic acid or using household dyes. Most florescent dyes are sulfuric acid. . basic dyes. 2. If you dilute concentrated acids, always add the acid to the water. Wear gloves, goggles, and protective apron. An eyewash Hazards fountain and emergency shower should be 1. Some basic dyes are known to cause skin available. allergies. Whether they cause respiratory 3. Wear goggles when dyeing at high allergies if inhaled is not known. temperatures to avoid splashing hot liquid in your eyes. Precautions 4. Boiling dye baths should be exhausted 1. See General Precautions. with a canopy hood, since the steam can carry dye with it into the air. Dinct Dyes Direct dyes are used for dyeing Azoic Dyes cotton, linen, or viscose rayon. They use Azoic dyes, or naphthol dyes as they ordinary table salt (sodium chloride) as a are also called, are used to dye cotton, linen, dyeing assistant, and require heat during the rayon, silk and polyester. They consist of two dyeing process. Direct dyes are azo dyes. In components - "fast salts" and "fast bases" - the past, a large number of direct dyes, which must react together on the fabric to particularly in the dark shades, were made form the dye. Dyeing assistants used with from benzidine. Dyes based on benzidine these dyes are Iye and Monopol oil derivatives (3,3' - dimethoxybenzidine, and (sulfonated castor oil). 3,3' - dimenthylbenzidine) may still be available. Direct dyes are the commonest Hazards dyes used by craftspeople, and are present in 1. Azoic dyes are very reactive, and may all household dye products. cause severe skin irritation (dermatitis, hyperpigmentation). Long-term effects of Hazards these dyes have not been well studied. 1. Benzidine and benzidine-derivative 2. Lye (sodium hydroxide) is highly corrosive direct dyes are extremely or highly toxic by by skin and eye contact and ingestion. inhalation and ingestion, and possibly through 3. Sulfonated castor oil is moderately toxic skin absorption. Bladder cancer may be by ingestion. caused by the breakdown of these dyes by intestinal bacteria and also by the liver to ptecautions form free benzidine, one of the most 1. If possible, avoid azoic dyes. Most other powerful carcinogens known in humans. It types of dyes are less hazardous. was been shown that workers using these dyes have free benzidine in their urine. Basic Dyes Another source of concern with imported Basic dyes, also called cationic dyes, benzidine dyes is that they had often been are used to dye wool, silk and cellulosics that found to be contaminated by free benzidine.

Number 27 18 Fall 1994 TCN

See CSA's more detailed data sheet on Dye developing a severe allergy. Hazards for tables of known hazardous dyes 2. Sodium carbonate is moderately corrosive given by their Color Index names and/or by skin contact and highly corrosive by numbers. inhalation or ingestion.

Precautions Precautions 1. Do not use direct dyes based on benzidine 1. Purchase liquid, fiber-reactive dyes instead or benzidine derivatives, if known. of powdered dyes. 2. If possible, mix up a full package of the Disperse dyes dye at a time rather than storing partly filled Disperse dyes are used to dye packages. Use a glove box or NIOSH- polyester, nylon and acetates. They are often approved toxic dust respirator. applied at high temperatures. 3. Wear gloves and goggles when handling sodium carbonate solutions. Hazards

1. Many disperse dyes are well known to French Dyes cause skin allergies, even from skin contact So-called French dyes are solvent- with the dyed fabric. based, brilliant dyes often used for painting on silk. These are mostly based on ethyl Precaution alcohol, but Material Safety Data Sheets 1. See General Precautions should be obtained to ensure this.

Fiber-Reactive Dyes Hazards Fiber-reactive dyes, or cold water 1. The solvents used are flammable. Ethyl dyes, are dyes that work by reacting alcohol is a mild respiratory irritant, and is chemically with the fiber, usually cotton or only slightly toxic. Methyl alcohol is linen. These dyes use sal soda or washing moderately toxic and is absorbed through the soda (sodium carbonate) for deactivating the skin. It can affect the nervous system. bath after dyeing. Other chemicals often used are water softeners, urea, and sodium alginate Precautions (as thickeners ). 1. Use only dyes containing ethyl alcohol. Dilute the dyes with water, isopropyl alcohol Hazards or denatured alcohol, not methyl alcohol. 1. Fiber-reactive dyes can react with lung 2. Use with good dilution ventilation (e.g. tissue and other mucous membranes to window exhaust fan at work level). produce very severe respiratory allergies. 3. Do not allow open flames, lit cigarettes or Symptoms include tightness in the chest, other sources of ignition around the solvents. asthma, swollen eyes, "hay fever", and possible skin reaction. These dyes are very Household Dyes light, fine powders, and are easily inhaled. All purpose household dyes, also There have been many cases of craftspeople called Union dyes, are mixtures of several working with these dyes for several years dye classes with salt, so that they will dye without problems, and then suddenly almost any type of fiber. The dye class that is

Number 27 19 Fail 1994 TCN

not suited to a fiber will be left in the Hazards dyebath. 1. The hazards of natural and synthetic mordant dyes are mostly unknown, Hazards particularly with respect to their carcinogenic 1. The hazards of household dyes will depend effects. Usually there is no hazard due to on the classes of dyes present. Usually this inhalation, and the only problem is possible includes an acid dye and basic dye. Fiber- skin contact and absorption. Some plant reactive dyes are also sometimes present. materials, however, can release irritating vapors (e. g. eucalyptus) Precautions 2. Chrome (ammonium or potassium 1. See General Precautions dichromate) is highly toxic. It is a probable human carcinogen, and can cause skin Mordant Dyes ulceration and allergic reactions. Mordant dyes are synthetic dyes 3. Oxalic acid is highly toxic. It is corrosive, which, like some natural dyes, use mordant to and can cause acid bums, ulcers, and fix the dye to the fabric. They are commonly gangrene in extreme cases. it is hazardous by used to dye wool and leather, and sometimes skin contact, inhalation, and ingestion. cotton. You can use the same mordants used 4. Ammonium hydroxide is moderately to with natural dyes. See Natural Dyes. highly toxic. It is a skin, eye and respiratory irritant. Mixing it with chlorine bleach Natural Dyes produces a poison gas. Natural dyes are mordant dyes 5. Copper sulfate (blue vitriol) is moderately prepared from plants, insects, algae, and any to highly toxic. It may cause skin, eye and other likely material. Most of these natural respiratory irritation and allergies and dyes are prepared by soaking plant, bark, or possible ulceration. Acute ingestion usually other material in water, or simmering for 1 -2 causes vomiting; if vomiting does not occur hours. In some cases, for example, indigo, more serious poisoning can occur. these dyes are also available synthetically. 6, Alum (potassium aluminum sulfate, Natural dyes are used to dye cotton ammonium alum), cream of tartar (potassium and silk fibers and fabrics, and usually acid tartate), stannous chloride (tin chloride), require the use of mordants to fix the dye to tannic acid (tannin) and ferrous sulfate the fiber. Mordanting is usually done by (copperas) are slightly toxic and may cause simmering the fibers or other material in a skin irritation or allergies in a few people. mordant bath for 30-45 minutes. After Ferrous sulfate can cause iron poisoning in mordanting, the material is dyed. children. Urea has no significant hazards. Common mordants used are alum 7. The hazards of using indigo are discussed (potassium aluminum sulfate), ammonia, blue under vat dyes. vitriol (copper sulfate), copperas or green vitriol (ferrous sulfate), cream of tartar Precautions (potassium acid tartrate), chrome (potassium 1. Wear rubber gloves when mordanting, dichromate), oxalic acid, tannin (tannic acid), preparing dye baths, and dyeing. tin (stannous chloride), and urea„ 2. Whenever possible, prepare your own dye bath by soaking wood, plant, and other

Number 27 20 Fall 1994 TCN

natural dye sources rather than buying contact or Ingestion, as are its separate prepared dye powders. If you do use dye components, sulfuric acid and potassium powders, use a glove box or wear a NIOSH- dichromate. It is a known human carcinogen, approved toxic dust respirator. and can cause skin ulceration and allergic 3. A safer, cold mordanting procedure can be reactions. done as follows: 1) dissolve the mordant in a small amount of warm water; 2) pour the Precautions dissolved mordant and cold water into a 1. Wear gloves and a NIOSH-approved toxic container with a tight lid or seal; 3) submerge dust respirator when handling prereduced or the scoured fiber or other material, and secure pre-solubilized vat dye powders or sodium the lid; 4) let sit for at least 12 hours; 5) hydrosulfite. When possible, mix in a glove remove the fiber and rinse thoroughly, and 6) box. dye the mordanted material or let dry. 2. Wear gloves and goggles when handling Iye. Vat Dyes 3. Do not store solutions containing sodium Vat dyes, including the natural vat hydrosulfite dye indigo, are dyes which are insoluble in 4. Do not oxidize vat dyes to their colored their coloured form. They must be reduced to form with chromic acid. Instead use heat and a colourless, soluble leuco form with Iye or air. caustic soda (sodium hydroxide) or sodium hydrosulfite before they can be used for Special Dyeing Techniques dyeing. Vat dyes are commonly purchased in Some dyeing techniques have their colorless reduced form. The color is particular hazards due to the nature of the produced after dyeing by air oxidation or by technique. This includes tie dyeing, batik, and treatment with chromic acid (potassium discharge dyeing. dichromate and sulfuric acid). Vat dyes are

used to dye silk, cotton, linen, and viscose Batik rayon. Bank involves applying molten wax to the fabric to form a resist pattern, dyeing the Hazards resisted fabric, and then removing the wax 1. Vat dyes in their prereduced form are resist by ironing the fabric between layers of moderately irritating by skin contact, newspaper, or by the use of solvents. inhalation, and ingestion. Vat dyes may cause allergies Hazards 2. Sodium hydroxide is highly corrosive by 1. Melting wax for batik can be a fire hazard skin contact and ingestion. if the wax is allowed to spill, or if it is 3. Sodium hydrosulfite is moderately overheated so that wax fumes form. irritating by inhalation and ingestion. Its Overheating can also produce decomposition powder is very easily inhaled. When heated of the wax to acrolein and other strong or allowed to stand in basic solution, sodium irritants. hydrosulfite decomposes to form highly toxic 2. Ironing out the wax often releases highly sulfur dioxide gas. irritating wax decomposition products. 4. Chromic acid is highly corrosive by skin 3. Carbon tetrachloride and gasoline have

Number 27 21 Fall 1994 TCN

been used to remove residual wax from the Discharge Dyeing fabric. Carbon tetrachloride is extremely Discharge dyeing uses chlorine bleach toxic. It can cause cumulative and even fatal or other chemicals to remove color from liver damage in small amount by skin fabric. absorption or inhalation, and is also a probable human carcinogen. Gasoline is Hazards hazardous due to the presence of benzene, a 1. Household bleaches contain sodium known human carcinogen. hypochlorite, which is moderately toxic by skin contact, inhalation, and ingestion. The

Precautions use of bleach to remove dye from the hands 1. See precautions in Dyeing section. can cause dermatitis. Inhalation of chlorine 2. Do not melt wax with an open flame or gas from bleach decomposition can cause use a hot plate with exposed element. Instead severe lung irritation. Heating or addition of use an electric frying pan which can be acid releases large amounts of highly toxic temperature controlled, or melt the wax in a chlorine gas; addition of ammonia causes double boiler to avoid overheating and formation of a highly poisonous gas. possible fire. Heat to the lowest temperature which will make the wax liquid. Precautions 3. Use an exhaust fan to remove fumes 1. Do not use bleach to remove dye from produced by ironing out the wax. Using your hands. Instead wear gloves or a barrier several layers of newspaper may reduce the cream to protect your skin. amount of fumes produced. Set the iron at the 2. Have dilution ventilation when using lowest setting feasible. bleach. 4. Do not use carbon tetrachloride or gasoline 3. Do not heat bleach solutions, or add acid to remove residual wax. Use mineral spirits, or ammonia to bleach. or send the piece to be dry cleaned after boiling in water. References Docker A., Wattie, JM., and Topping Tie Dyeing M.D.(1987). Clinical and immunological Tie dyeing involves the pouring of investigations of respiratory disease in concentrated dye solutions over the tied workers using reactive dyes. Brl Ind Med. fabric. 44(8), 534-541. Jenkins, C.L. (1978). Textile dyes are Hazards potential hazards. J. Environ. Health 40(5), 1. The pouring of concentrated dye solutions 279-284. over fabric, as done in tie dyeing, may National Institue for Occupational Safety and involve a greater risk from skin or eye Health. (1983). Preventing Health Hazards contact if the dye is splashed. from Exposure to Bewdine-Congener Dyes. DHHS (NIOSm Publication No. 83-105. Precautions NIOSH, Cincinnati. 1. See precautions in Dyeing section. 2. Wear gloves and goggles when tie dyeing. This article was reprinted with permission from Art Hazards News Vol. 16, No.5, Center

Number 27 22 Fall 1994 TCN

for Safety in the Arts, 5 Beekman Street, Neiu iii paperback Suite 820, New York, NY 10038. Telephone (212) 227-6220 (voice); (212) 385-2034 from Princeton at 20% off (BBS). The Center for Safety in the Arts in (offerexpires December 31,1993) partially supported with public funds from the National Endowment for the Arts, the New send orders to: ¥0*State Council on the Art, the New York Princeton University Press City Department of cultural affairs, and the c/o California/Princeton Fulfillment Services, Inc.. New York State Department of Labor. 1445 Lower Ferry Road (c) copyright Center for Safety in the Arts Ewing, New Jersey 08618 1993. - I Prehistoric Please send me: Textiles paperback copies of Prehistoric Textiles by E.J.W. Barber (ISBN 0-691-00224-X) @ $23.95 E.J.W. Basber (List price $29.95) This pioneering work revises our notions of the cloth copies of Prehistoric Textiles orins and earty development of textiles in Europe and by E.J.W. Barber (ISBN 0-691-0359741)@$60.00 the Near East Using innovative linguistic techniques. (List price $75.00) along with methods hom palaeobiology and other fipdrk, it shows that spinning ard pattern weaving began Ear earlier than has been supposed. *This monumental study embraces linguistic and Name/Addres/City/State/Zip archaeological investigations. practical knowledge of weaving palaeobiology, and other arcane sciences to truce the development of clotr -Widington Post n-+ World *ParkA full of useful and intriguing information... also remarikably wd written. mis njunctwn of virtues advances archaeological understanding of F..AM.and their social and cultural implications agiant 0 Enclosed is my check made payable to step. ...In addition to its historical insightn. Preizator* Califomia/Princeton Fulfillment Services To*les has the further virtue of joining solid aidaeo- logical and linguistic understaading with a practical Charge to my: bowledge of the art of wem,ing. Few archaeologists O Visa O MasterCard O American Express ard historians possess this combinati04 which ts essential if we are to understand both the textiles and Credit Card # the weavers who produced them The authority of this Exp. Date text comes from the hand as well as the hm:wd The result of this happy union is a distinguished work that edu- Signature cates the reader and exalts the arlient weavers, a Telephone # pmiseworthy accomplishment.' -Trudy S. Knzmi. Sciencr -Thestory [Baiberl spins andweaves hom . . . Total Book Price vanous Sklls m„kpt an exhulamting book As the first comprehensive account of one of humanity's oldest Sales Tax W] 61; CA 84%1 industbiesjiwill beah=*irtool forarchaeologists and $3.00 studentz, of every level- Postage and Handling -Hdm Hughes Brock Ant*dly TOTAL ' ILL.W. Barber is Professor of Linguistics and Archaeol- ogy at Occidental College and is a handweaver. Prchis- foric Textiles won the Millia Davenport Publication Award of the Costume Society of America.

1993.504 pages. 4 color plites 217 bwillut 4 crupi 71, . 10. Pap/,bad 0491-00224-X Lim:$29.95 Saler $13.95 aoth: 0691435974 · List *75,00 Sak $6000

Fall 1994 Number 27 23 TCN

Worn by a Female Interpreter at the Victoria Settlement, An Alberta Provincial Historic Site. ASTER'S THESES RELATED Advisor: Anne Lambert TO MUSEUMS AND MATERIAL Hammick, Sharon J. (1989). Effect of Dichlonos CULTURE AT THE UNIVERSITY Realn Strips on Wool Fibers. Advisor Nancy Kerr. OF ALBERTA Metht, Ester (1989). Effect of Alkaline Deacidifying Agents on Aged Cotton Fabric. Advisor: Nancy Kerr Schweger, Barbara F. (1983) Documenes[on and Analy,ls of the Clothing Worm by non-Native Men Muc, Leslie G. (1989) Appiled decorative Design on in the Canadian Arctic Prior to 1920, With Handwoven Cloth Inspired by the Textiles of Emphasis on Footwear. Advisors: Nelma Fetterman Sumatra, Indonesia Advisor: Marlene Cox-Bishop. & Anne Lambert

Singh, Sarbjit K. (1989). Indian Textile Motifs and Andrews C. Janine (1984) Visitor response to Four Techniques from Gulan: and their Adaptations for Costume Display Forms in a Museum Exhibit. Contemporary Design on Fabrics. Advisor Marlene Advisors: Netma Fetterman & Anne Lambert. Cox-Bishop

Hudson-Rockliff, Doreen (1984). Fire Retardant Roy, Catherine (1990). The Talloring Trade, 1800- Finishes for Fiber Art: A conservation Perspective 1920; including An Analysts of Pattern Draning Advisor: Nancy Kerr. Systems and an Enamination of the Trade in Canada. Advisor: Anne Lambert. Jennings, Teena (1985). The Deacidincation of Cellulosic Textiles.Advisor: Nancy Kerr. Smith. Janice I. (1991) Content Analysis of Children's Clothing in Eaton's Catalogue and Kerkoven, Marijke Benschop (1986). Analysts of Selected Canadian Museums 1890-1920. Advisor: Textile Crafts at Selected Agricultural Faln In Anne Lambert. Alberta and Saskatchewan 1879.1915. Advisor:

Anne Lambert Taylor, Loretta (1990). Fabric in Women'i Costumes from 1860 to 1880: A Comparison of Fashion Smith, Danne R. (1987). Dressmaking Occupations Periodicals and Selected Canadian Museum [n Edmonton, 1900-1930. Advisor Anne Lambert Collections. Advisor: Anne Lambert.

Dahl, Becky G. (1988). Grade 3 Students' Cognitive Hatvorson, Bonnie (1991). Effect of Light on and Affective Responses to Wearing Reproduction Selected Properties of Pariene C Coated Silk Costumes in the Edmonton 1881 Schoolhouse. Fabrics. Advisor: Jill Oakes Advisor: Anne Lambert.

McKinnon, Aileen M.(1991). Metts Women's Maren*. Michael (1988). The Development and Clothing In the Red River Settlement 1820-1840 Evaluation of Costume Reproduction Pattern Advisor: Jill Oakes Blocks for an 1880's Woman'§ Dress Advisor: Anne

Lambert. Prince, Nicholette L. (1992). Changes in Dress 1830- 1850: A Comparison of Carrier at Fort St. James Prince, Heather D. (1988). Norwegian Clothing and and Coait Salish at Fort Langley. Advisor: Jill Textiles in Valhalla Centre, Alberta: A Case Study Oakes. and in an Ecomuseum Framework Advisor: Anne Lambert. Marshall, Joan (1992) Analy,is of Balt Fibres from Archeological Sites. Advisor: Nancy Kerr Wells, Karen L. (1988). Children's Cognitive and Affective Response m Costume Reproductions

Number 27 24 Fall 1994 TCN

Openda-Omar, Nancy (1992). A History of Dress in Morton, Jennifer (1995). The Batik of Ernabells, the Kakamega District of Western Kenya: Impact Australia. Advisor: Sandra Niessen. of Socio-Cultural Facton Advisor: Sandra Neissen. Okkerse, Mary (1995). West African Textile Chun, Zarah (1993). Product and Marketing Production: Gender and Spirituality. Advisor: Anne Strategy Development of Inuit Arts and Crafts. Lambert. Advisor: Jill Oakes Tuchak, Tamara ( 1995). Inuit Penpectives on Caseburg, Debbie (1993). Shamanism and Clothing: Economic Development. Advisor: Jill Oakes. A Northern Perspective. Advisor: Jill Oakes. Hardy. Michele (1995). Subsaharan African Paste Dawley, Crystal (1993). Effects of Conservation Resist Tettiles u a Source of Inspiration for Textile Freezing Treatments on Wool Advisor Nancy Kerr. Designen. Advisor: Marlene Cox-Bishop.

Madrid, Roslyn Feniak (1994). Purpura Dye[ng of Joelle Renzi (1995). Three Dimensional Textile Pinotepa: A Human Ecological Perspective. Forms: Historical Weaving Techniques, Theories Advisor: Jill Oakes. and Designs. Advisor: Anne Lambert.

Weir, Wendy (1994). Indigo Dyed Shlbori Textiles: Wendy Bakgaard (1995). Knitting and Technology. A Contemporary Interpretation Advisor: Marlene Advisor: Marlene Cox-Bishop. Cox-Bishop. Terri Thomson (1995). Community Museums. Coa, Naiyu (1994). The Textiles of Mlao Women as Advisor: Anne Lambert. Sources of Inspiration for Contemporary Textile Design and Production. Advisor: Marlene Cox- Students Currentlv Comoletine Doctoral BMhop. Dissertations

Students Currently ComDIetint Master's Bonifacic, Vjera (1995). Textiles of Eastern Europe Thesis Advisors: Jill Oakes, Human Ecology/B. Medwisky, Slavic and East European Studies. Christou, Maria (1993). Supplementary Wen Weaving Techniques Toraja, Indonesia. Advisor: Schweger, Barbara (1994). Franklin Expedition: Sandra Niessen. Fabric Samples. Advisors: Nancy Kerr and Jill Oakes, Human Ecology/John Foster, History. Katahan, Effy (1994). A Heritage of Greek Textiles. Advisor: Sandra Niessen People interested in obtaining copies of the theses should contact the authors, via Bagan, Anne (1994). BlackfootteremonialCostume their advisor. The authors would likely be Advisor: Jill Oakes/Anne Lambert. able to supply a copy of their thesis for the Zerwig, Michelle (1994). Hair Embroldery In cost of the xeroxing and postage. All of the Museum Collections. Advisors: Jill Oakes/Anne theses are also available through Interlibrary Lambert. Loan from the University of Alberta library and the National Library in Ottawa (available Hart, Laurie (1995). Museum Exhibition and in microfiche format only from both places). Historical Development of Collections in Canada. There is no charge for the loaning to other Advisor: Anne Lambert post secondary institutions, however a fee of MeFayden, Kay (1995). Recycled Clothing. Advisor: $5 is applied when borrowing through public Linda Capjack.

Number 27 25 Fall 1994 TCN

libraries and corporations. The University of The investigative reports for the Alberta interlibrary loans service can arrange academic year 1993/94 covered a wide range. for copies of the thesis to be made also. They Two focused on adhesives, Sarah Foskett charge $0.25/page, and require the purchaser examined the origin, properties and potential to sign a form of copyright of isinglass, a fish glue. Monique Pullan acknowledgement. researched various starch adhesives and their behavior and applications. Abigail Hart The department should be acknowledged as: reviewed the history and technology of moir6 Department of Clothing and Textiles fabric and the problems it presents to Faculty of Home Economics conservators, while Tracy Wedge examined University of Alberta textile wall hangings and environmental and 115 Home Economics Building cleaning issues. Telephone (403) 492-3824 Fax (403) 492-4821 Several of the object treatment projects dealt with removing previous treatments, such as amateur repairs and some professional interventions which had failed. Allison Chester tackled the removal of rubber adhesive residues from a painted silk banner. Both Sarah Foskett, working on a Tibetan thang-ka, and Abigail Hart, treating a World T HE TEXTILE War n flag, had to deal with previous adhesive impregnated net treatments. The CONSERVATION CENTRE : conservation of the jockey silk undertaken by ABSTRACTS OF FINAL YEAR Alex Seth-Smith and the treatment of a panel PROJECTS FROM THE DIPLOMA of a Japanese folding screen undertaken by IN TEXTILE CONSERVATION Monique Pullan both involved adhesive 1993/94 treatments. Tammany Heap undertook the conservation of a crewel work valance with Students in the final year of the three the aim of using it as a didactic piece to the benefits of different year postgraduate Diploma in Textile demonstrate Conservation, taught at the Textile conservation treatments. Tracey Wedge's Conservation Centre in affiliation with the treatment of a pair of pole fire screens Courtauld Institute of Art University of involved conservation of a variety of London, carry out two twelve-week projects. materials in association with the central One is an investigative research report on a printed and embroidered silk. particular aspect of conservation theory and technique or practice, either preventive or The reports may be consulted in the interventive. The other is an object treatment TCC Libraiy Appointments should be made comprising analysis, documentation and well in advance with the Librarian, Valerie implementation of a textile with a particular Milnes (081 977 4943). problem.

Number 27 26 Fall 1994 TCN

THIRD YEAR OBJECT TREATMENT involving flags and historic soiling. Treatment involved documentation, surface PROJECTS 1993/94 cleaning, removal of' detrimental previous repairs (stitched and adhesive), solvent cleaning (IMS), ALLISONCHESTER-January 1994, The Removal humidification, stitched support. suggestion of missing of Natural Adhesive Residues and Subsequent areas. design of and attachment to a mount, design of Treatment of a Painted Silk Banner (TCC 0306). a glazed frame and provision of recommendations for A description of the removal of extensive preventive conservation. residues left by pressure sensitive adhesive tapes on the reverse of a weak, painted silk banner. TAMMANY HEAP (ned Stone) - 1994, The The aim was to devise a method of removing Conservation Treatment of a Crewelwork Valance the residues - mainly natural rubber adhesive with zinc u a Didactic Display (TCC Reference Collection) oxide filler. plus small amounts from transparent The conservation treatment of a crewelwork adhesive tape and iron-on interfacing - without valance offers a unique addition to the Textile affecting the oil-based paint. Conservation Centre's Reference Collection. It The extensive tests and successful treatment incorporates a range of comparative treatments using 1,1,1-tricholorethane ('Genklene'), ammonium (minimal to more intensive) in one object. The acetate solution and a vacuum suction table are intensive treatment comprises different approaches to described. Details of further treatment required to stitched support along the length of the valance. make the banner safe and pleasing for display are The report highlights some of the issues and included. with display specifications. practice of conservation raised in the treatment and includes a resource list of associated TCC material. The valance forms a highly visual didactic aid of use SARAH FOSKETT - May 1994, The Re- in illustrating the nature of textile conservation to a Consenalion of the Top Border of a Tibelan wider audience. A display, transport and storage form Thang-ka (FCC 1838.8): A Pilot Treatment are included. The thang-ka comprises a painted panel with polychrome silk borders lined with cotton fabrics. MONIQUEPULLAN-May 1994,The Conservation There are wood components at the top and bottom. It of a Japanew Folding Screen, (TCC 1823) is to be returned to storage at the Horniman Museum The report documents the treatment of one and Gardens. leaf from a Japanese folding screen, a multi-media The project involved the removal of a PVAC object comprisingembroidered silkand damask-woven adhesive (Mowilith DMCZ) and stitched conservation cotton textiles, newspaper interlininss and a wooden treatment undertaken in 1977. The adhesive treatment lattice. The ethics of consciving an object originating was removed using heat and mechanical action. Its from a specific, non-Western tradition of manufacture success is evaluated. and repair, and the option of modifying the screen's A stitched support was given to each textile conslruction in order to strengthen it for functional use component. As a pilot treatment, the reconservation of are discussed. The treatment. adapted from traditional the top border of the thang-ka textiles only was Japanese mounting methods, isdescribed and assessed. undertaken. The panel was dismantled, and the textiles and newspaper components were supported on silk or kozo ABIGAIL HART - January 1994, The Conservallon paperi using wheat starch adhesive; the lattice was of Major Urgqaurt'i Flag (TCC 1689). lined with paper. This report concerns the treatment of an incomplete. discoloured, soited and oft repaired silk ALE)64NDRA SETH-SM/77/ - Janua[y 1994. The flag, flown in the battle of Amhem, 1944, and owned Treatmeni of a Jockey Silk, (TCC 1647.A) by the Airborne Forces Museum, UK. The conservation of a jockey 'silk', reputedly The treatment was informed by the client worn by the rider of the Epsom Derby winner, request, the role, materials and construction of the centered on providing support to the sleeves for it to flag, and ethical issues inherent in treatments be safely and pleasingly displayed in a bow-frame.

Number 27 27 Fall 1994 TCN

Of cream satin with scarlet and green sleeves, three common preparation methods are investigated. the badly damaged components of the jacket exhibited The properties are analysed quantitatively and degradation synonymous with that of weighted silk qualitatively. Conclusions are drawn concerning and from being flattened during storage. preparation method and product type. Treatment required careful planning to overcome problems associated with handling a three- ABIGAIL HART- May 1994, An Investigation into dimensional artifact with britt le fibres. A combined Moint Fabrics for Conwrvators. stitched and adhesive support was implemented using This report provides an investigation into silk crepeline and Vinamul 3252. moir6 fabrics for conservators. The aim of this investigation is to assist the treatment of objects TR,(CEY »EDGE - May 1994, The Conservation constructed from modern and historic moirt fabrics. Treatment of Two Mixed Media Pole Fire Screens To achieve this aim the following subjects are with Associated Tassels, (TCC 1789.1 and .2) covered. This report documents the conservation A review of the published definitions of moir6 fabrics; treatment of two privately-owned framed pole fire A discussion of the physical characteristics of moirt screens and two tassels. A wide range of materials is fabrics; incorporated in the screens, including a printed silk An introduction to manufacturing techniques that can fabric with linen backing through which silk and metal be used to produce moire fabrics; elements have been embroidered, printed paper, a A discussion of the difficulties involved in treating wooden stretcher and a frame of wood, rattan and moir6 fabrics and the suggestion of some solutions to glass. these difficulties. This includes written and The panels were removed from their frames photographicdocumentation, cleaningandstabilization and all elements were treated while still mounted on and the potential role of Volasil™ 244 and Computer the original stretcher. The linen linins to the printed Image Processing in the treatment of objects made backing paper required a stitched support while an from moir6 fabrics adhesive treatment, involving infilling missing areas, was given to the paper. Ethical issues were faced MONIQUE PULLAN - January 1994, A Survey of when infilling the paper. Starch Paste Adhesives Used In Conservation: The The frame was treated by a furniture Chemistry of Starch and the Properties of Various restoration company before the screens were Pastes. reassembled. Treatment of the tassels was limited to ASurvey of the current usage of starch pastes surface cleaning and humidification. in conservation introduces these adhesives to the textile conservation profession. THIRD YEAR PROBLEM Preparation methods and raw materials for INVESTIGATION PROJECTS various pastes are described. The chemistry of starches and pastes, and the adhesive properties perceived by users demonstrate the heterogeneity of starch SAR,4HFOSKETT-January 1994, An Investigation adhesives. into the Properties of Isinglass and Its Use In Con,ervation. The investigation identifies an increasing interest in starch by some textile conservators, but also The report defines isinglass and provides an the lack ofconfidence to execute treatments because introduction to the protein chemistry ofgelatm derived of lack of knowledge, as well as skill. Particular adhesives. Special reference is made to the properties concerns and experiences of textile conservators are of isinglass which render it suitable for conservation. highlighted through a questionnaire and practical work Conservation literature from a broad range of undertaken in conjunction with the project disciplines is reviewed. Additional information concerning current uses of, and opinions about, ALEXANDRA SETH-SMITH - April 1994, isinglass is provided by the results of a conservator Investigation in Ihe reconstruclion of a Sth Dynasly survey. Egyptian Bead Dress, (TCC 1826.i) Experimental work is reported in which the A rare 5th Dynasty Egyptian bead-net dress properties of four isinglass products prepared using

Number 27 28 Fall 1994 TCN

belonging to the Petne Museum was required for long and make up and were therefore focussed on a term display. particular object or a set of objects. The artifact comprises a re-threaded panel of , From 1992 students were asked to complete faience beads and breast caps which form a wide-mesh two reports - one on an Investigation Project and the structure. Loose beds and a string of mitra shells are other on a Practical Project. retained with the reconstructed components of the dress. The aim of the project was to formulate a reconstruction program which would enable the dress to be safely exhibited. Initial research centered on accumulating contemporary references of bead dresses to establish a design format. The faience was analysed to confirm whether it could withstand handling. Appropriate techniques and materials were researched to ensure the dress would be well supported throughout the display period.

TRACEY HEDGE - January 1994, Historic Textile Wall Coverings: The Influence of Technical and Ethical Consideration, on Treatment Options - A Review and Evaluation of Treatments. The report outlines di fficultiesencountered by the textile conservator when considering appropriate treatments for textile wall coverings in situ. Past treatments carried out by the Textile Conservation Centre are evaluated and published literature is reviewed, with emphasis placed on the dry methods of cleaning used, in particular lhe Wishab sponge. Ethical considerations are outlined with regard to the treatment of wall coverings in the United Kingdom and New Zealand (Aotearoa).

The following two reports will be presented at a future meeting:

ALLISON CHESTER -The Role and Performance of Chelating Agents in Textile Conservation - A Preliminary Study. TAM*INY HEAP - Use of Video Techniques to

Document Teitile Conservation Procedures (working title)

Diploma Course in Textile Conservation

FINAL YEAR PROJECTS REPORTS

During their final year of study between 1975 and 1991 students researched, conserved and reported on one special project. The projects were chosen for the particular problems presented by their materials

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STUDENITYEAR EEWECI CLLEMI.

1975 McCORD, Margaret 18th C. Brocatelle Hangings of a State Bed Ispmwich Museum 1976 FRASER, Alison Fin de Siecle Tablecover, Hans Burghmair Design Private HARPER, Bridget 19th C. Printed Shawl, Paisley Design TCC SMITH, Rosemary Coptic Tunic with Hood Private 1977 BLUM, Dilys Study Collection of Peruvian Textiles Private LAMB, Marion 19th C. Turkish Embroidered Ceremonial Hanging Private

1978 RENDELL, Caroline 18th C. Silk Hanging with Bizarre Design Waddesdon Manor ROBERTS, Margaret 19th C. Turkish Woman's Coat Shambellie House 1979 COUSENS, Stephen 178 C. Mortlake , Hero and Lcander Lyme Park 1981 FLINTOFF Elizabeth 17th C. English Turkeywork' Cushion Winchester Cathedral WYLIE, Annnabel 17£h C. Flower Embroidered Bed Valance Private

1982 HERBEROER Barbara Altar Frontal Brixham Church GIZA. Mary 19th C. Chinese Robe, woven Designs Private LEGO, Sally 16th C. Stained and Painted Wall Hanging Ancient House, Ipswich SINGER, Poppy 18th C. Effigy Dress Embroidered on Brocaded Silk Geffrye Museum 1983 BARNETT, Jennifer 2,000 BC Egyptian Linen Dress Pell-ie Collection FOTHERINGHAM, L. c. 1870 Doll in Fashionable Dress Turnbridge Wells Museum GILL, Kathryn French Tapesuy Woven Sofa Covers Wallace Collection GRANT, Lynn 17th C. Hanging Pockets, Metalwork Embroidery Warwick Museum SYKAS, Philip 17th C. ButT Leather Coat Hatfield House 1984 BOND. Lyndall 18th C. Brocaded Silk Sack Dress Newbury Museum DARDES. Kathleen 16th C. Tapestry of the Prince Arthur Set Magdalen College, Oxford EATON, Linda 18th C. Painted Barge Streamer The Glaziers Company ROTHWARFMartha 17th C. Tibetan Tangka, Applique Centre Private SACK, Catherine c. MOO Gold & Silver Embroidered Mittens Usher Gallery, London 1985

AMOS, Anne c. 1800 Kesu Panel Private DOYAL, Sherry 1902 Frances Macknair Embroidered Curtains Private LENNARD, Frances c. 1830 Peeler's Uniform Mchpolitan Police Museum POWELL, Eileen George VI Coronation Court Dress Court Dress Collection TOULSON, Wendy Pall - Opus Anglicanum Lying Parish Church 1986

BROOKS, Mary lath C. Chinoiserie Bed Cornice Chippendale Society McCLINTOCK, C. 1588 Spanish Armada Waterlogged Textile Ulster Museum ZUBIATE, Rosanna 18th C. Boy's Coat and Breeches Museum of London 1987 GATES, Susan late 15th C. Fragment from a TaI)estry Private JOSE, Mary 17th C. Raised Work Box Private KIRKWOOD, Irene Painted Silk Guidon Private MUIR, Caroline 17th C. Raised Work Beaded Picture Private

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STUDENT¥E,4 R piwia CU,EMIL Petrie Museum PETSCHEK, Carla Painted Egyptian Mummy Shroud STEVENS, Crosby Set of Painted Silk Banners from the American Revolution Private

1988 FINE, Anna Shephardic Torah Mantle Spanish & Portuguese Synagogue HUGHES, Helen Tibetan Tangka Private JOELS, Naomi c. 1760, Top Covers of a Chinese Chippendale Chair Private MACKIE, Kjerstin 19th C. Three Pairs of Working Breeches Guildford Museum Marble Hill House REYNOLDS, Ann c. 1760, Top Covers from a Northey Suite Chair Museum of SCHINDEL, Terri c. 1690-1720, Grave Garments from a Spanish Colonial Burial in Santa Fe International Folk Art

WORBOYS, Melanie 16th & early 17th C. Ecclesiastical Private

1989 Private BOTT, Gillian 17th C. Embroidered Panels, with Braid CUSSELL, Susanne 18th C. Archer's Waistcoat Harrow School DIDION, Claudia c. 1823, An Evening Dress and Overdress Worthing Museum Private HOWIE, Heather A Coptic Tunic Court Dress Collection PILKINGTON, C. c. 1825, Court Train ROWE, Amber Two Small Central Asian Knotted Textiles Private RUBIN, Nancy Thme Late Pre-Hispanic Textile Fragments from the Lima Valley, Peru Field Museum. Chicago SELM, Rosemarie 17th C. European Padded Saddle Private 1990 Luton Hoo GIDNEY, Kveta A Russian Court Dress GREGORIOU, Manolia 7(h-Sth C. AD, Boy's Coptic Tunic Private HAYWARD, Maria Two Oriental Panels: A Kakeomono and a Kalaga Private LISTER, Alison Three Small Clothed Figures Epping Forest Museum MORGAN, Helen Three 18th C. Women's Shoes and a pair of Clogs Chertsey Museum STOCKWELL, Kate 17th C. Knitted Jacket Gallery of English Costume Platt Hall. Manchester

Private TELFORD, Emma Early 20th C. Dress

1991 BILSON, Tom Roman Egyptian Painted Shroud Fragment Fitzwilliam Museum MANITTA, Sharon Mid-l9th C. Fully Clothed Wax-Headed Doll Kensington Palace PARDOE, Tuula Two Early 19th C. Painted Silk Banners Jew's Hospital STOUGHTON-HARRIS

Clare Rubberised Multi-Media Costume: A Raincoal Platt Hall Designed by Mary Quant WOOLMORE, Harriet 18th C. Altar Frontal St Mary's Church Buscot, Oxfordshire

1992 ANDREW, Sally • Infared and Ultraviolet Radiation 19th C. Carriage Parasol TCC Reference Collection COOK, Phillips * Underlays in Historic Houses 18th C. Sct of Canvas Work Top Covers Private DEVITT, Cliodna • Woolen Cloth Garment from Coal Mine 1580-1630, Large Flemish Tapestry Leicestershire Museums

Number 27 31 Fall 1994 TCN

CUEMIL STUDENDYEAR PROlECI HAKARI, Anna • Removal of Rust Stains from Historic Cellulosic Textile Material Private Bark Cloth

HOWARD, Sarah • Historical Window Draperies Mid to Late 19th C. Beaded Canvas Work Chair Private MILANESCHI, Anna * Degraded Silk Dressed Madonna Figure Private REPONEN, Taria * Wet Cleaning Woollen Textiles Late 17th C. Embroidered Cushion Textile Conservation Centre ROLLINS, Alison 0 Pattern Cutting for Historical Costume Leicestershire Museums 18th C. Sack Backed Dress

1993 ALLAN, Victoria 0 Application of· Enzymes to Textile Conservation 19th C. Printed Cotton Dress Private GIBSON, Lynn * Drawing and other visual imaging techniques for Recording 17th C. Garments Fragments from a Mine Leicestershire Museums GREENSLADE, Irene • Methods of Application on Adhesive Supports 19th C. Painted Masonic Silk Banner Private JENKIN, Charlotte * Identification of Degraded Vegetable Fibres in Upholstery 18th C. Silk Brocade Torah Mantle and Associated Private Fragments THOMPSON, Karen • Use of Poultices for Removing Adhesive Residues from Textiles c. 1904 Doucet Bodice Private

1994 CHESTER, Allison * Removal of Natural Rubber Adhesive Residues and Subsequent Treatment of a Painted Silk Banner FOSKETT, Sarah • An Investigation into the Properties of Isinglass in Conservation Reconstruction of the Top Border of a Thang-ka, A Horniman Museum Pilot Treatment HART, Abigail • Moirt The Conservation of Major General Urgquart's Flag Private PULLAN, Monique • Chemistry of Starch Paste Adhesive in Conservation The Conservation Treatment of a 1907 Japanese Folding Pnvate Screen SETH-SMITH, A * Investigation into the Reconstruction of a 5th Dynasty Egyptian Bead Dress The Conservation of a Jockey Silk Petrie Museum WEDGE, Tracey 0 Historic Wall Coverings The Conservation Treatment of 2 Mixed Media

Fire Screens Private The Textile Conservation Centre Apartment 22, Hampton Court Palace East Molesey. Surrey KT8 9AU Telephone 081-9774943 Facsimile 081-977-9081 • Investigation Projects

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conservators belonging to larger institutions NNOUNCEMENTS as well as those in private practice who would be responsible for arranging the meeting for that year. This work would NNOUNCEMENT OF THE include making local arrangements, program development and publication of postprints. FORMATION OF A NORTH The venue for the meeting would move to AMERICAN TEXTILE another host group two years later. CONSERVATION CONFERENCE

If you and your institution are A number of American and Canadian interested in supporting the organization of textile conservators have expressed interest in this North American Textile Conservation the formation of a North American group Conference please contact Ela Keyscrlingk whose purpose would be to work together to (613) 998 3721, ext. 209 or Jane Merritt organize a biennial conference devoted to (304)535 6142 topics relevant to textile conservators and include the participation of scientists, museum designers and art historians etc. as A HISTORY OF TEXTILES their contribution would relate to the textile conservation community. AND DRESS IN THE HISTORY OF ART ANDDESIGN DEPARTMENT

The organization initially is WINCHESTER SCHOOL OF ART functioning with a steering committee consisting of Ela Keysertingk, Canadian The Ma History of Textiles and Dress, Conservation Institute; Catherine McLean, validated by the University of Southampton, Los Angeles County Museum of Art; Linda is now recruiting for the academic session Eaton, Winterthur Museum; Chris Paulocik, 1995-6. Open to students with a wide range Metropolitan Museum of Art; and Jane of career and academic interests, this course Merritt, National Park Service, Harpers Ferry studies the history of textiles and their Center. applications in dress and furnishings from the 18th century to the present day. It explores We are seeking the assistance of other museums, and other off-site conservators who would have the support of resources and includes both a study visit to their institution to get this organization the north of England and one to a European started. Institutional support may mean the site. Attendance is two days a week for a donation of your time or allowing you to year plus a dissertation or one day a week for generate an occasional mass mailing, and two years plus dissertation. Applications for most importantly the availability of a lecture MPhil and PhD research will also be hall or auditorium where a 2 day meeting of considered. For details and applications forms 150 plus attendees could be held. please contact: Academic Registrar, Winchester School of Art, Park Avenue, We would like to see each conference Winchester 5023 8DL, England. Tel. 0962 hosted by a regional group consisting of 8442500.

Number 27 33 Fall 1994 TCN

TEXTILE CONSERVATION NEWSLETTER UBSCRIPTIONS P.O. Box 4811, Station E Ottawa, Ontario

The TEXTILE CONSERVATION Canada, KlS 5J1 NEWSLETTER is published twice a year in the · spring and fat The two year Please send all submissions in typed form or subscription costs: if possible produced on IBM compatible Canada 35.00 Cdn. Wordperfect 4.2, 5.0, or 5.1, on 5 1/4" or 3 America & Overseas 38.00 US. 1/2" disk. Submissions sent by electronic mail (FAX) are welcome. Illustrations sent by Back issues of TEXTILE FAX will not reproduce well, and so should CONSERVATION NEWSLETTER md be sent by mail or courier if time is running supplementaries: out. For the best production of illustrations Canada - 4.00 Cdn. and clear black and white photographs, copy- America & Overseas - 5.50 US. ready artwork is required. Your disks will be postage and handling included. returned but we cannot return artwork. Articles can be as short as 1 page and as long Method of Payment as 6 or 7. Anything longer than that will be Our bank has recently returned some money considered for publication as a supplement. orders (some drawn on Canadian banks) from outside Canada and U.S.A. that did not have Editors : Leslie Redman the sufficient encoding for the bank in Helen Holt Canada to process them. These items cost Lesley Wilson TCN from $3.75 to $10.00+ to be hand processed which quickly reduces the funds available for producing the Newsletter. When Disclaimer ordering back issues or subscriptions, please Articles in the TEXTILE request an "International Money Order" CONSERVATION NEWSLETTER are not drawn on a Canadian clearing bank encoded intended as complete treatments of the with the following three part coding line: subjects but rather notes published for the (5 digit no.)-(3 digit no.)-(acct.no.) purpose of general interest. Affiliation with (branch code)-(bank code) the TEXTILE CONSERVATION Thank you for your cooperation. NEWSLETTER does not imply professional endorsement. UBMISSIONS Deadlines for 1995 are 1 March and 1 We welcome submissions on: Textile September Conservation, History, Technology, Analysis, ISSN 11-80-3649 and information and exhibitions. Submissions, address changes, and correspondence should be addressed to:

34 Fall 1994 Number 27 TEXTILE CONSERVATION NEWSLETTER SUBSCRIPTION Please check appropriate boxes

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Please send cheque, international money order* or bank draft in Canadian or American funds payable to: TEXTILE CONSERVATION NEWSLETTER: mailto TCN, P.O. Box 4811 Station E. Ottawa , Ontario, K 1 S SJ 1, Canada *please request an 'international Money Order" drawn on a Canadian clearing bank encoded with the following three part coding line: (5 digit number)-(3 digit number) - (account number) (branch code) - (bank code).