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SPRING 1988 TEXTILE CONSERVATION NEWSLETTER SPRING 1988 ISSUE
TABLE OF CONTENTS
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FROM THE EDITORS ...... 1 CONSERVATION AT THE ISABELLA STEWART GARDNER MUSEUM .. 1 Marjorie Bullock REPRODUCTION OF AN 18TH CENTURY MALECITE COSTUME Jan Vuori , THE mEATMENT OF A TSIMSHIAN HAT ...... 7 Phil White· BEHIND THE SCENES OF THE GALLERIA DEL COSTUME ...... 9 Mary Westerman-Bulgarella ANDERSON HOUSE MUSEUM TEXTILE CONSERVATION LAB ...... 13 Kathleen Betts SUPPORT PADDING OF TEXTILE SHOES AT THE BATA SHOE MUSEUM ...... 15 Saundra Reiner-Moffatt POULIN BALLROOM SCENE ...... 18 OTHER PROJECTS AT THE CANADIAN MUSEUM OF CIVILIZATION, OTTAWA ...... 22 Julie Hughes, Ruth Norton, Han Jongejan A SUPPORT FOR LARGE FLAT ARTIFACTS DURING TREATMENT .. 23 Phil White MANNEQUINS AND HEADFORMS ...... 24 Lucie Thivierge ALTERATION OF A DRESSMAKERS MANNEQUIN ...... 28 Ruth Mills CONSERVATION INFORMATION NETWORK ...... 30 Ela Keyserlingk SAVE THE SILKS! PROTECTION FOR WEIGHTED SILKS ...... 31 Merrill Horswill CONSERVATION ALERT: HARMFUL BUTTONS & BUCKLES ...... 34 Nancy Kerr NEWS FROM THE ROYAL ONTARIO MUSEUM ...... 35 Izabella Krasuski REPORTS ON CONFERENCES, MEETINGS & COURSES ...... 36 Stitching Symposium by Sarah Lowengard ...... 36 Inuit Clothing Conference by Ruth Mills ...... 39 EXHIBITIONS 40/42 IVALU: Traditions of Inuit Clothing 42 A COAT OF MANY COLOURS ...... 41 Sandra Morton-Weizman CONFERENCES, COURSES & SEMINARS ...... 43/44 HEALTH AND SAFETY ...... 44 Arsenic Found in Historic Textiles by Monona Rossol NEW PUBLICATIONS ...... 45 POSITIONS AVAILABLE ...... 47 SUBSCRIPTION INFORMATION ...... 48 1
FROM THE EDITORS CONSERVATION AT THE ISABELLA GARDNER MUSEUM As promised, the supplementary, Mannequins for the Royal Ontario Writing this article for the Museum Costume Gal lery by Alexandra Textile Conservation Newsletter Palmer accompanies tATs issue of provides me wltn tne opportunlty to T.N.C. We would like to thank the thank my Canadian hosts for their Royal Ontario Museum for allowing hospitality and many courtesies us to publish the report and extended to me during the workshop Alexandra Palmer for submitting it. presented at Parks Canada in Ottawa It contains excellent and up to last Summer on the "Degradation of date information. No doubt, many Historic Textiles" (sponsored by people will find it extremely IIC-CG). This narrative may reveal useful. just how relevant and germane that Additional copies of Alexandra workshop remains to staff facing Palmer's report are available conservation problems at the through T.C.N. (for more Isabella Stewart Gardner Museum, information see page ). Boston, MA. Ground was broken in 1899 to start construction of the Editors Change four-storey building to house the permanent collection that has been Colleen Willson has resigned from on exhibition since the Museum was the position as western editor finished in 1902 and opened to the which she has held for the past public in 1903. For more than 85 four years. We thank Colleen for years, the Gardner Museum has her dedication and support and wish offered the public fine arts, music her well in her new endeavours. (concerts three times a week), and Gail Sundstrom-Niinimaa Textile flowers in a unique setting which Conservator in Calgary, Alberta has last year attracted over 159,000 returned to the editorial board. visitors. It is the achievement of Welcome, Gail! (Please note Gails one person, Isabella Stewart address on last page.) Gardner (1840-1924), who formed the collections, designed the building Submissions Please and, ultimately, endowed it. Upon her death in 1924, the Museum was The editors have been hard at left "for the education and work gathering articles for this enjoyment of the public forever" issue. Interesting submissions and under the terms of her will no have been received from Italy, accessions may be made to add to United States and Canada, and we the collection and the arrangement encourage other subscribers to must remain as she left it. The submit their articles and reports. collection is unusual in its Translation services are available diversity. Spanning thirty if required. centuries, it includes examples of Deadlines for submissions are art from Egypt, the Near and Far always April 30 (Spring Issue) and East, classical Greece and· Italy, October 31 (Fall Issue). Europe, and North and Central America, and is comprised of TCN Index paintings, sculpture, furniture, stained glass, ceramics, metalwork, A complete index of all TCN will textiles, rare books, manuscripts, be published in the Fall '88 prints and drawings. issue. 2
Even the seal that Mrs. Gardner Her predilection was for the designed for her museum is Italian Renaissance, and her vision characteristic- a shield bearing a of a museum was a Venetian palace phoenix, a symbol of immortality, of XVc, with three floors of and the motto - C'est mon plaisir - galleries opening onto a central (It is my pleasure). and skylit courtyard containing both seasonal displays of flowers The President of the Board of and plants, as well as classical Trustees recently wrote: "It Graeco-Roman stone sculpture, a (ISGM) is one of the world's Roman mosaic of the second century greatest private collections--a and a Venetian fifteenth-century Boston treasure, a New England fountain. She herself occupied an treasures a national treasure. The apartment on the fourth floor in Trustees and staff of the Museum Fenway Court, as the Museum became have two principal duties--to see known, until her death. Each that the Museum is used for the gallery has a character of its own. benefit of the public to the The walls of some are hung with maximum possible extent; and to see rich damask or ornately tooled and that the Museum is protected and gilt leather while others have preserved 'forever', for this and rough wood panelling and heavy all succeeding generations. One beamed ceilings. First, there are hundred years, one thousand years the great paintings by such Dutch from now, this collection, and Italian masters as Rembrandt, comprising some of the finest and Vermeer, Giotto and Titian. To most beautiful objects produced by balance the paintings, rooms are the hand and mind of man, must filled with stone and polychrome still be here to enlighten and wood sculptures; inlaid, veneered, inspire the public." These are the stained and/or painted furniture; aspirations and dreams of the textiles including monumental beneficiaries of Mrs. Gardner's tapestries (in both size and legacy--the liabilities are the significance), laces and substance for many a conservator's ecclesiastical costume. The textiles were often hung on walls nightmare. or placed on tables under an array The need to care for the of smaller objects, as Mrs. collection has been recognized by Gardner had arranged them to every generation of Trustees and reflect her concept of a grand staff since Mrs. Gardner's death house where people have lived for almost sixty-four years ago. generations surrounded by things Annual reports published over the that they cherished. Built with a preceding sixty-three years concept of eternity, yet rooted in invariably mention at least one the fin-de-siocle, it has the major treatment having been founder's forceful sense of what a undertaken for either a painting or museum should be. It has been a tapestry. George L. Stout, one noted that this arrangement affords of the founding fathers of modern the visitor little help in locating conservation, became the first the objects considered most conservator at the Gardner Museum important. Often they are not in 1934, and was later to become given a conspicuous position and its director (1955-1970). He they are placed with little installed a humidification system relation to their historical or at the Museum shortly after he geographical origins. The result became di rector, long before other is a set of rooms that have a museums had seriously considered personal, informal character. 3
the problems of climate control. generated interest not only within Mr. Stout also established a all departments of this museum but professional textile conservation also within the museum profession department and hired its first at large. conservator in 1964. In tradition of protecting and preserving the As one might expect, the collection, the Museum's environmental survey is addressing administration is considering how those areas that one would best to upgrade conservation anticipate being potential and facilities to meet the increasing probable sources of hazard and/or needs of a permanently displayed pollution. Consultants have been collection susceptible to involved with the survey either environmental damage and to provide directly or indirectly; among them better climate control and have been bio-chemists, industrial storage. hygienists and engineers, an entomologist, conservators and The textile authority, Adolph S. conservation scientists and sales Cavallo, wrote in his Introduction representatives for equipment. The to the Museum's Textile Catalogue, challange will be in interpreting published in 1986: for Fenway the data now being collected in Court did not survive the ravages order to find, create and implement of time and their own inherent solutions. The following narrative weaknesses. Textile materials is an informal presentation of the contain physical and chemical diversity and nature of the survey properties that cause them to presently underway. deteriorate rapidly when they are exposed to light, humidity, Inspections and tours have been temperature changes and made of the physical plant from top abrasion--conditions that could not to bottom--from. the roofs to the be avoided if the galleries at basement. Discussions have Fenway Court were to maintain their speculated on the nature of original character." The pollutants from the original conservation problems are at times heating system once fueled by coal endless for the collections, most and the past lack of any of which were created before 1700 humidification as contributing to with a large portion dating to the the present condition of many Renaissance or to earlier periods. objects. The skylight is being Approximately one-thlrd of the monitored and will be more closely Museum's full-time, paid staff examined in a further study. It dealing with objects, paper, and presently leaks. There may, in textiles. Paintings are contracted fact, be acid rain in the our to a conservator in private courtyard. The central court has practice. Additionally, there is been studied to determine what one position funded by a grant other growths it may be spawning in awarded by the Institute of Museum addition to the flowers--growth Services. The project coordinator, that may post hazards for the art working under the supervision of collection opening onto it and the project director and contained within it. A conservator of objects, Ms. Barbara comprehensive monitoring schedule Mangum, and Dr. Nathan Stolow, the has been formulated to collect primary consultant, is undertaking temperature and relative humidity a comprehensive survey of the data at sites within the galleries Museum's environment. This and courtyard utilizing recording interdisciplinary project has . hygrothermographs. These are 4
checked for accuracy dai ly and England Conservation Association. recalibrated as necessary. The response, in both ideas and Humidity indicating cards have been questions, was encouraging and placed within some enclosed cases. seemed to indicate the interest and Dimensional changes in wood objects need for such studies. It is hoped and leather panels are being that the findings and conclusions measured and recorded. It had been that will evolve and be made will considered that a textile, such as be interpreted as manifestations of a hanging and highly reactive long-range conservation effons tapestry, be included as part of which are not limited to one area the study but the greater of interest or expertise--nor complexity of the woven structure limited to the Isabella Stewart and support lining might mislead Gardner Museum alone. the results. "Sticky traps" non-poisonous insect traps have Marjorie Bullock been discretely placed in suspect Conservator of Textiles areas and in remote storage to Isabella Stewart Gardner Museum provide evidence of the presence Boston, MA and species of insects or pests. Part of the survey is the monitoring of light over the seasons for both UV and visible light levels at all interior and exterior window openings. Blue wool fade cards that are monitored monthly have been placed throughout the collection. In addition, an air quality study has been undertaken to identify types and sources of pollutants both gaseous and particulate within the Museum while data is being obtained from an outdoor monitoring station that is in close proximity to the Museum. Although this information is not being presented here in a logically formatted fashion, it does indicate the broad scope of the environmental survey and suggests that there may be no simple solutions. The questions generally far out-number the answers.
With apologies to the reader who may have expected an article on textile history or conservation treatment or textiles in general, I could not resist introducing the Museum itself or mentioning some parameters of the environmental survey. An overview of this project was presented in April at a meeting hosted by the Gardner Museum for members of the New 5 4 ftsk
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REPRODUCTION OF AN 18TH CENTURY MALECITE COSTUME
As previously reported in the TCN The rarity of the costume meant (Spring, 1985, p. 15), a rare 18th that display would be an imponant century Malecite Indian costume consideration. However, the belonging to the New Brunswick already degraded condition of the Museum was treated in the Textile light sensitive silk ribbons and Lab at CCI. Despite its age, the the fact that the damaging effect costume which consists of a Hood, of light is both cumulative and Cloak, Breechcloth, two sashes and irreversible meant that any such a pair of leggings, was in display would have to be very relatively good condition. By far limited. A balance between the greatest damage was suffered by providing access to the costume and the silk ribbons used as appliqui protecting it from light was on all the costume pieces. Where needed. Such a balance could be the silk had been exposed to light achieved by displaying only for many years it had disintegrated individual pieces of the costume and the remaining silk was brittle for limited times in conjunction and fragmenting. The conservation with a reproduction of the entire treatment consisted largely of costume. If necessary, the stitching a suitably coloured shear reproduction costume could remain fabric (Stabiltex or crepeline) on permanent display. over the remaining ribbons taking care not to obscure any beaded Another important consideration decoration. was the fact that the condition of the pieces required flat mounting As is usual following the for display. All of the costume completion of the conservation pieces except the Hood are flat treatment, recommendations were textiles. Although the given for display, storage and conservation treatment succeeded in . handling. In this case, however, physically securing the remaining it was also strongly recommended silk ribbons, in their weakened that a reproduction of the costume state they were liable to fracture be made. Several factors further if flexed or bent. This contributed to this recommendation. ruled out methods of display · 6
involving bending or draping and the Leggings. A modern red wool consequently all of the flat stroud with white borders is costume pieces were mounted onto available from Indian craft acid-free paper honeycomb panels suppliers but not in the width padded with polyester guilt batting requi red and so a red wool fabric covered with a neutral coloured was used (Passepoil #4298 linen. Display and storage mounts manufactured by Hefti of were also made for the three Switzerland). This fabric was dimensional Hood. Flat mounting overdyed with black to tone down reduced the risk of further damage its brilliant new colour so that it to the costume pieces in display, now closely resembled the "aged" storage and handling but it made look of the original. Our interpretation of the costume as a facilities could not accommodate whole difficult. It was the 3.2 square metres to be dyed anticipated that some museum and so this procedure was kindly visitors might have difficulty carried out by the dyer at the understanding how the various National Arts Centre. Clamp marks pieces were worn. A reproduction were simulated by stitching on displayed on a mannequin would borders of cream coloured wool. greatly help the viewer to The hairsilk stitches passed understand and appreciate the beneath the nap to produce an costume. invisible seam. Acrylic paints were used to produce the uneven In order to make an accurate scalloped areas of red on the outer reproduction, a list of the edge of the clamp marks. necessary supplies was drawn up. Over ten thousand beads, 53 metres Attempts to locate silk ribbons of silk ribbon, 47 silver disc of the dimensions and colours brooches, and seven metres of wool required were unsuccessful and so fabric was required. their appearance was simulated using silk fabric dyed in the Lab. A search was then made for Four of the ten different ribbons materials which resembled these of on the costume have silk and metal originals as closely as possible. brocade. We decided not to try to duplicate this as it would have Fortunately, the Textile Lab had been much too time consuming and supplies of red, blue and brown the plain "ribbons" made from silk wool fabrics very similar to the fabric were considered sufficient tradecloth used to make the to convey the general appearance of original costume. All of the the original. costume pieces made of red stroud (ie. Hood, Cloak, Leggins and red After much searching, glass beads Sash) have undyed borders along the which closely resembled the selvages. These undyed borders, original tubular and pony beads known as clamp marks, were produced were purchased and the beaded by the clamps which held the fabric patterns, including irregularities, during piece dyeing. The clamp were carefully copied on the prevented the dye from penetrating reproduction. Losses in beadwork beneath and so produced the on the original costume pieces were irregular dye resisted borders. filled in on the reproduction Often these borders were wherever the patterns on the incorporated as part of the originals repeated regularly and no decoration on garments(2), in this new irregularities were introduced. case as the outer borders on the If there was any doubt as to what Cloak and the top borders on colour of bead to use, the area was left blank. 7
Cost estimates for having exact THE TREATMENT OF A TSIMSHIAN HAT reproductions of the 47 silver disc brooches made were prohibitively Last November a Tsimshian hat of high. Consequently copies were red stroud heavily decordated with made from discs stamped out of dentalium shell and abalone shell aluminum at a local machine shop. pieces was received by the ' Aluminum wire, flattened ina Ethnology Laboratory of the rolling mill was shaped and Canadian Conservation Institute. attached to form the tang. An adjustable hat block was Although the method of manufacture designed and constructed for was simple the reproduction suppon duri ng treatment, as brooches give the impression of described in the fall 87 issue of polished trade silver very well. the Textile Conservation Newsletter. Once mounted on a mannequin, the reproduction costume makes an The hat was placed on the impressive and informative display. adjustable block with a thin layer Hopefully its use will help to of guilt batting between the prolong the longevity of this surface of the block and the inner valuable artifact. surface of the hat. The sections of the block were then expanded Jan Vuori outwards to support the hat. Textiles Division Canadian Conservation Institute The top of the hat had sustained the most serious damage and a Notes backing of new cloth was considered necessary. The original cloth was 1 A similar situation in which of a plain woven wool stroud with reproductions were made to very little nap. A piece of new protect original artifacts is wool stroud with a similar weave described in an article by and colour was selected as a Isabella Krasuski and Cara backing. The new wool, however, Reeves, "All That's Bright Must had a nap which, when placed next Fade" Rotunda (Toronto: Royal to the original cloth, was very Ontario Museum, Spring 1986), obtrusive. To remove the nap the pp. 12-14. cloth was first washed in a 2% WA Paste solution, rinsed 2 D.K. Burnham, Warp and Weft thoroughly, and dried. The cloth (Toronto: Royal Ontario Museum, was then pinned out on a piece of 1980), p. 99. "Tentest" board and shaved with a straight razor until the desired nap was achieved.
A pattern was made of the top of the hat indicating the direction of warp and weft. A piece of the shaved cloth was then cut to the shape of the pattern and inserted beneath the damaged cloth.
Damaged areas were couched down to the backing with red hair silk. Damaged areas on the side was couched sparingly directly onto the original lining of the hat. Due to 8
the heavy decoration of dentalium For storage of the hat a plywood and abalone shell, backing of the base sealed with two coats of stroud would have been extremely shellac was constructed. The difficult and may have caused dowels, which projected from the further damage to the hat due to base into holes in the Ethafoam excessive manipulation of the block, prevented the hat from frayed material. The shell slipping off the base and provided decoration in fact helped in some easy removal (see Figure 1). areas to secure the damaged cloth making couching of these areas To cover the hat a box made from unnecessary. Coroplast as described by Carl Schlichting in the fall 1987 issue Three loose dentalium shells, and of Textile Conservation Newsletter. three loose abalone shell sections This was constructed to fit loosely which had been stitched during some over a step in the wooden base. previous repair with an obtrusive The box was made with a Mylar white thread, were restitched with window, held with hot melt glue a beige polyester cotton thread rivets, to provide visual access. resembling, in colour, the original sinew stitching. Prior to this the Philip White white thread was removed. Canadian War Museum Ottawa The hat was removed from the (formerly Intern at C.C.I.) block and placed on a carved Ethafoam block padded with guilt batting. The base of the block was previously hollowed out so as to provide a grip for handling the hat.
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BEHIND THE SCENES OF THE GALLERIA the Kyoto Costume Institute and the DEL COSTUME Costume Institute of the Metropolitan Museum of Art, was Since the Galleria del Costume's made. These were designed for the opening in 1983, both the general specific purpose of supporting public and the specialized viewer historic costumes as 6pposed to have shown more interest in what store display mannequins re-adapted goes on behind the scenes of a for this use. At that time the costume museum. The average firm made a nineteenth century visitor does not realize what female figure only. Shortly after, happens when cataloging, conserving they introduced one for the and preparing the costumes for eighteenth century woman. More display. He is also unaware of the recently they have developed one criteria followed and the decisions for the early nineteenth century made in order to have a final and a "Belle Epoque" mannequin. product or "look" that works. These mannequins are made of With the presentation of the several anatomical parts which can third exhibition and catalogue it be heightened or lengthened. The was felt that some explanation torso is divided at the waist so might be appreciated. Of course that the figure's proportions can this is not intended to be THE be adjusted according to those of answer to costume preparation and each individual costume. Once the display, but rather a presentation correct proportions have been of some of the solutions found to established, the empty area between effectively show historic dress. the bust and hips is filled in with These solutions are a result of an dacron fiber fill which is helf in extensive examination of techniques place with a tubular elastic mesh. and methods adapted by other curators and conservators who have The torsos of these mannequins had to deal with similar problems. were the correct shape for the period dresses, but it was The first major decision was the necessary to make understructures choice of mannequin with or without to simulate the various skirt a head, arms and legs. It was shapes and to support the weight of decided early on that the Gallery the costumes. Thus understructures would show full dress, as complete were developed for the different as possible, so that meant a figure fashion forms of the eighteenth and with all features was needed. From nineteenth century dresses. a conservation point of view, the Fashion plates and illustrations main characteristic required for a served as guides to achieve the good historic dress mannequin is proper line or silhouette. A "dressability". This attribute careful study and examination of implies that a costume can be put original undergarments, and most on and taken off with minimum importantly, the cut and stress. The mannequin should also construction of the actual dress allow a good fit to the costume being displayed, was essential to without having to make drastic understand its correct shape. changes to the mannequin. The There was less concern for materials used to make the figures reproducing real under garments, should be stable and not damaging which were designed to bear comfort to the costume during display. In and movement. The understructures the end, the decision to use the were, for the most part, made out mannequins produced by the Wacoal of cotton calico and dacron fiber Corporation, in collaboration with fill and they could be tied onto 10 the female mannequin to imitate precisely on the mannequin's skull. bustles of different forms and Wooden forms were custom carved to sizes. Petticoats were designed the exact skull shapes of both the with layers of ruffles to achieve male and female figures. The the fullness desired for the cotton base was stretched over the individual shapes of the skirts. wooden form, after it was covered Crinolines were created much in the with this plastic, and then it was same way they would have originally coated with a synthetic adhesive been, but a plastic covered coiled and left to dry. White gros-grain wire was used to make the hoops. rayon ribbons of various widths Unwashed calico was intentionally were treated with the same adhesi ve used as washed calico goes limp and and dried in taught strips or else does not maintain its crispness. wrapped around brass rods of Thus, each understructure was different diameters in both an "S" covered with acid-free tissue paper and "Z" twist to make curls. Using before the dress went over it. these materials any style of wig could be made by working on the The Wacoal Corporation does not base and building up the desired make male mannequins and, shapes. Both the male and female therefore, in the end it was wigs were done in this manner. decided to develop a new male Finishing touches, such as bows, feathers or flowers were added so figure with the same characteristics as the female ones; that the wig would complement a i.e. "dressability", flexible and costume. movable arms and legs, rotating head and adjustable proportions of Many documentary sources were torso and limbs. A face with consulted to aid in choosing a wig stylized features was created to style that would be typical for a accompany the stylized face of the given period or style of dress. It female mannequin and a torso shape was felt that many costumes could was made to coincide with the cut not be defined if they were not of men's coats from the eighteenth complete with a hat. For example, to mid-nineteenth centuries. a hat would have been worn without exception with certain day dresses Once the decision for full dress of the nineteenth century. figures had been made, wigs, hats, Therefore, while original hats in shoes, gloves and other accessories the collection have been displayed were required. The most difficult separately, interpretations of task was the development of the original specimens have been mannequin wigs. Several attempts produced to complement the were made using various materials costumes. These hats, too, could from paper to hemp to synthetic be re-util ized for future display hair. Of course the cost came into be making slight alterations in the question as already the mannequins added decoration. were a sizable investment. Wigs that could be re-used and modified The same criteria was followed in the future were preferred since for the reproduction of the shoes. it was decided that every two years The Ferragamo shoe and fashion the exhibition of costumes would house, one of the founding members of the Association of the Friends change. of the Gallery del Costume, was A solution of gros-grain ribbon called upon to help make period wigs was found. A base was made of shoes to accompany the costumes. tightly woven cotton which fits The mannequin's feet had to be 11
re-shaped to create a last onto throughout the museum. which a pull-over could be applied. Incandescent spotlights, with Stylized shapes were chosen that individual dimmer switches, were were typical of any given period. hidden above the window cornices, so that the lighting can be Gloves of all types were found adjusted to properly illuminate locally since Florence is reknowned each costume without exceeding the for glove production. The arms and recommended 50 lux light level. hands of the Japanese mannequins come in both rigid and pliable The display cases are situated in materials. Both types are used and existing historical interiors of interchanged which permits a the eighteenth century wing of the variety of poses when displaying Palace. One might say that this is numerous costumes. A figure can a museum within a museum. The hold a fan, an umbrella, a bouquet furnishings, in most instances, or a book or be given a simple originally belonged here and by gesture which indicates the chance reflect the taste of the occasion for which the dress was to period dresses on display. Despite have been worn. The polyeurethane this harmony, the costumes do not used to make the pliable parts interact with their surroundings as presents a technical and aesthetic in a 'tableau vivant'. problem: it yellows with age. Therefore, the hands are always The early twentieth century gloved and the arms are covered kitchen, called "Cucinone", is with gauze bandaging and layers of located in the same wing which opaque hose when visible. houses the Costume Gallery. This was converted into a textile and As mentioned above, the Gallery's costume conservation laboratory, costume·display is changed every where the conservation and other year. The rotation is done preparation of costumes now takes for several reasons. First, to place. protect the costumes from over exposure to light and stress. A dossier is made for each dress Second, over the years a maximum which comes into the laboratory. number of costumes can be studied, This includes written and conserved and displayed, although, photographic information regarding due to limited exhibition space, its condition and treatment. The only 40 to 50 can be shown each conservators work in collaboration time. with textile, lace, embroidery and costume experts to determine the Display techniques were studied dating and authenticity of costume and developed to deal with the construction and decoration. problems of exposure to light, dust and physical contact. Large Often costumes have been notably free-standing glass cases were altered to non-existant fashion designed to completely protect the shapes. This was commonly due to costumes. Each case was historic dresses being used for constructed with a built-in fancy dress or Carnival costumes, ventilator which gently circulates though sometimes alterations were filtered air throughout it. This done by the original wearer due to eliminates the settling of dust and size changes or fashion updating. the growth of mold. The windows of When possible, after complete the room are all closed to prevent documentation is done, the dress the entry of damaging light rays. can be taken back to its original General incandescent lighting is shape. Often internal parts such 12
as linings or inner bodices are The same is true for the deteriorated beyond repair. These replacement of essential finishing are sometimes removed, reproduced features which would have been and replaced inside a costume. The necessary to complete the "look" of originals are saved for study a costume. For example, the purposes. In other instances 'engageantes', stomacher and collar original linings have been saved, missing form an eighteenth century if of particular interest, by female dress, or the ruffles, covering them with another fabric. 'jabot' and 'cravates' of several male costumes were made of There are cases where an entire materials which copy the originals. dress fabric needs to be completely An unobtrusvie "neutral " material supported to withstand its own was chosen rather than using real weight during display, such as fine or fake lace in order not to silk tulle dresses with heavy falsify the originality of the metallic embroidery. These have displayed costumes. Sometimes only been treated in various ways to the coat, with or without the reinforce the entire surface of the matching vest of a male three piece dress fabric. The original costume has survived. Despite this construction of a costume is of a decision was made to exhibit utmost importance to the these on a mannequin. Therefore understanding of style and reproductions of original dressmaking history, therefore eighteenth or early nineteenth there is a minimal amount of century trousers were made in a dismantling and unstitching of suitable color and fabric. costumes for conservation. Of course this is not alwdys possible Given the continual arri val of when the decision to unstitch costumes to the museum, the work of original threads is often the only selecting, documentating, choice the conservator has when conserving and preparing them for confronted with fabrics which are display is constant. The personnel highly deteriorated. Regardless, of "Cucinone", together with each costume is examined researchers and the Gallery's individually and a treatment for administration collaborate in that particular costume is finding effective methods to prescribed. present and make comprehensive historic dress to both the general Missing integral parts of public and the specialized viewer. costume, such as 'rusches', 'balyeuse' or 'volant', or missing Mary Westerman-Bulgarella decorations such as lace trimmings, Palazzo Pitti, Piazza dei Pitti, 1 tassles or fringes are replaced Florence, Italy with replicas which imitate the originals but can be detected by Footnotes the expert. For example, an early nineteenth century elaborately 1 - Wacoal Corporation, 29 embroidered men's coat was missing Nakajima-cho, Kisshoin, a few embroidered buttons. These Minami-ku, Kyoto, Japan. were reproduced by painting the 2 - This elastic mesh ls called desi gn of the embroidery on a satin Surgifix and it is normally fabric which then covered a used for holding bandages in cardboard disc the same size as the place. original. This method successfully 3 - Janet Arnold, "A Labour'd Hoop filled in the missing parts without to Ornament the Fair", Journal falsifying the original. of the International Association of Costume, n. 2, 1985, fp. 6-16. 13
4 - The male mannequin was created ANDERSON HOUSE MUSEUM by the Ditta Antonietta TEXTILE CONSERVATION LAB Barbaro, Viale Morgagni, 370, Florence 50134, Italy in The Anderson House Museum in collaboration with the sculptor Washington, D.C. was built at the Giovanni Hubert. turn of this century by Ambassador 5 - The adhesive used is a Larz Anderson for his "Washington" polyvinyl acetate called Morel residence. Since Ambassador Cement. This diluted with Anderson's death in 1938, this water to size the base and magnificent building, located in ribbons and is used un-diluted the heart of "embassy row", has to adhere the ribbons to the served as the National Headquarters base. Industria Chimica Morel for the Society of the Cincinnati + C. S.p.A., Via Gradisca, 18, (*the direct male descendants of 20151 Milan. the offi cers who served under 6 - Hats were made by Thessy George Washington in the American Schoenholzer Nichols. Revolutionary War). The house is 7 - The display cases were designed used by the Society for meetings, by Arch. Roberto Monsani in parties and as a private hotel. collaboration with the Ufficio Visiting dignitaries and top Tecnico della Soprintendenza government officials may also use per i Beni Artistici e Storici the building for entertaining. di Firenze and the Centro di Studio sulle Cause di The second floor of the house is Deperimento e Metodi di still furnished largely as it was Conservazione delle Opere in the years the building was d'Arte, C.N.R., Florence. occupied by Mr. and Mrs. Larz Anderson (1905-1937). Our most Article reprinted with klnd important textiles are displayed in permission from the Palazzo Pitti, these rooms. The Dining Room and Florence, Italy. the Olmstead Gallery contain a set of eight wall hangings known as the Translation of the original text "Diana Tapestries" (most of which in Italian from the catalogue, depict the mythological goddess, Galleria del Costume 13, Centro di Diana). This set of tapestries are Florence, 1988. purported to have been woven in Brussels near the close of the 16th c, in the ateliers of Jacques Geubels and Jean Raes. The mark of Brussels in Brabant is woven in the left-hand bottom galon of each tapestry and the monograms of the weavers in the ri ght-hand upright galon. A catalog which describes these pieces states that they were "presented by the most Christian King Louis XIII of France to Cardinal Barberini Legate to France 1625.°
This set of 17th c tapestries remained in the Barberini Collection until they were purchased by a Washington, D.C. wool merchant named Charles M. Ffoulke who, in turn, sold them to Larz Anderson. 14
Mr. Ffoulke sold another set of plan was developed. Volunteers (4) Brussels tapestries to Mr. were recruited and trained for this Anderson, known as the "Arbor labor-intensive project. Tapestries", which he acquired from the Gambarra Palace in Venice. The two sets of 17th c Brussels These tapestries are hung in the tapestries required two distinct French Drawing Room and were methods of conservation. I will probably woven near the end of the explain the details of this work 17th c. with its problems and solutions in future articles. Both sets of tapestries were taken down in the mid-1960's to be The Anderson House cordially "cleaned and repai red" by a 1 ocal invites you to contact us for an Washington rug shop when a central appointment to visit our textile air conditioning system was conservation laboratory and museum installed at Anderson House. whenever you may be in Washington, Details of this restoration are not D.C.. known. Katheleen Betts, Staff Conservator Despite this "repair work", these Anderson House tapestries still showed signs of Washington, D.C. U.S.A. active deterioration. The museum director spent much time researching the appropriate tapestry conservation techniques and exploring alternate ways in which the work could be done. It was discovered that there are very few conservators in the USA who do private contract work on tapestries. The museum director consi dered sending the textiles to Europe to be repaired, but he dismissed that idea when it was suggested that it would be less costly and more effective to set up a conservation laboratory on site. The 1 aboratory would then oversee the general conservation needs of the museum, including environmental and pest control. Other objects in the collection which need repair are sent to private contractors.
The textile conservation lab at Anderson House Museum became a reality in November of 1976 when I was hired by the Society of Cincinnati to design and supervise the lab. Under the much appreciated and experienced guidance of Mr. Joseph Columbus (of the National Gallery of Art) and Louise & Ted Cooley (private conservators), a tapestry repair 15
- SUPPORT PADDING OF TEXTILE SHOES AT Front Part THE BATA SHOE MUSEUM I have found that pre-cutting the The following is a brief tissue controls the size as well as description of the current state of the cost. Several sheets are the evolving technique of halved at a times halved again and supporting textile footwear. The again to the desired size. I two most sensitive parts of the generally use 3 sizes for a shoe. shoe are the toe and the counter (back-part of the upper). The toe The toe is padded with a small will collapse and the counter will section of unbuffered acid-free sag if they are unsupported. If . tissue (approximately 12 x 15 cm). the sole is of leather its If the 'leather' toe support has hygroscopic nature will cause it to separated from the textile (as it curl up as the bound water may in the 18th century shoes) it evaporates into equilibrium with may be necessary to Insert tissue the atmosphere and it dries out. between the layers to give the textile a smooth appearance. To counteract the increase of the toe spring and subsequent gaping of A roll comprised of unbuffered the topline this causes, the a.f. tissue and batting is formed manufacturer puts in a wooden into a ring and inserted in the filler or wooden stick to create front part of the shoe. The rings tension between the counter and the can be made to graduate in size to toe. A shoe tree performs the same sult the shape of the shoe by function. This pressure also varying the amount of batting used. prevents the stiffeners (leather, The correct amount has enough leatherboard or cardboard) in the spring to 11 fe the creases, but not counters of 19 or 20th century strain the textile. Three to four shoes from opening up. The rings generally fi 11 the front part manufacturer of a well-made 20th to the shank. century shoe stri ves to achieve a narrow shape at the top of the Back Part counter and it is this esthetic that governs the appearance of the Sagging quarters are supported by well-padded shoe as museum artifact a strip of a.f. folder stock at the Bata Shoe Museum. (approximately 4 x 18 cm) which is conditioned to prevent creasing by To achieve this appearance we scrapping it quickly between the use rolls of unbuffered acid-free thumb and the edge of a bone folder tissue and polyester batting to or ruler. The card is fitted in provide firm but gentle support. the back part of the shoe. One end if bent over the top line and . secured in position with two in tep plastic clips. Both quarters are topline pulled up firmly, supported by the lache .--- .... card. The other end of the card is , - . .- 1--- , counter bent over and clipped to the top vamp : quarter line. - .J/ha
sole ; heel
th Women's Shoe, early 18 century KEQHZ_lan 16 23 .....
-b·*11*,4 a.f *5*LE ,r A long firmer roll acts ·like a shoe tree to keep the back part P'01*1*R -bzl;ELAS straight. It is made into a roller .:44% after sandwiching a rectangle of unbuffered a.f. tissue (51 x 23 cm approx.) with a slightly smaller rectangle of crisp buffered a.f. tissue and a corresponding length of batting. This roll is bent in half and fitted into the back part of the shoe and against the soft rings that fill up to the shank.
A final soft ring can be inserted in the instep area to support the sh,{14 41 tongue if necessary.
Shoe lachets if present are positioned closed and secured by a band of muslin,. approximately 3 cm in width, overlapping at the side
, 1 seam of the shoe and secured by a plastic clip.
Silver Thread 1 /4 -*AM.m If the shoes are decorated with t'1,9 Ya-w#' metallic silver thread, they can be protected from the tarnishing effects of atmospheric sulphur naGLEAEZ compounds by providing a barrier in the following manner. A 4.-8 +Asvul polyethylene zip-lock bag, 30 x 39 31_4471 cm, is adapted and fitted with a 1--- -1 sulphur-absorbing strip by holding open on its side and pulling in the bottom corner to form a triangular ' b 4.A * T. H., . 1 1 24. flap on the bottom of the bag. The silver protecting strip is *El slipped under the flap. The shoes' i,ir,-4.4609/1,7ail•%e EzEZ-1 toes fit in the pointed end of the 8%*19 bag. When the bag is closed, the stiff zip-lock acts as a vertical spine, standing upright to prevent the plastic collapsing and touching the shoes. A diamond-shaped card can be cut to fit the bag to keep shoes from sitting on the plastic. It is recommended that the protector strips be changed every year, but this of course varies with the atmospheric conditions of the storage area which can be monitored with a control strip of silver. 17
21150:R nmzan
Materials and Supplies
Garnetted polyester fiberfill Dacron 91 544), Ind«hh Union Felt Products 1 Wiltshire Ave. Toronto, Ontario (Tel.: 416-656-7491)
Unbuffered acid-free tissue Buffered acid-free tissue Acid-free folder stock or barrier paper Wool fits Art Supplies 390 Dupont Street Toronto, Ontario MSR 1V9 (Tel.: 416-922-093
Unbleached muslin - most fabric stores
Notes
Gi 1 bert, Mark and Cook, Cl ifford "The Use of Hydrogen Sulphide Scavengers in the Protection of Silver Objects in Museum "Collection:" ICOM Committee of Conservation Metals Working Group poA 96*{ W #d#4 siAet Rgu Newsletter #2 (1986) *ded,4 47 Joswi of ·mznu Plastiklips (plastic paper clip) 1"&14+410*t' C $ Polyethylene zip-lock type bags .002 mil Futur Pak Systems 5000 Dufferin Street Saundra Reiner-Moffatt Downsview, Ontario Bata Shoe Museum M3H 5TS 59 Wynford Drive (Tel.: 416-665-0200) Don Mills, Ontario Silver protector strips M3C 1K3 3 M. Co. P.O. Box 5757 (Tel.: 416-446-2238) London, Ontario 18 POULILSCEN In the Fall '86 issue of the TCN, that time, was responsible for this we outlined the treatment of a contribution to the treatment. 'ballroom scene' diorama, which had been conserved in our division. I must admit that the project Since then, I have been asked for a grew on me more and more as I began more detailed description of this to appreciate the ingenuity of the treatment. Readers are referred to artist in creating each of the that issue for background different little characters. information, and might like to know that a Poster Session on the With regard to the structural and subject was presented by Paul mechanical components of the Lauzon at the IIC-CG conference in diorama, Paul Lauzon and Vaclav Toronto, May 27-29, 1988. Valenta performed a small miracle in putting the contraption into a As was mentioned in the Fall '86 functioning state again. As per issue, treatment (performed by Han Paul's treatment report, after Jongejan and myself) of the documentation, photography, and costumes on the carved figures was removal of the figures for quite basic, although very fiddly. conservation by Textiles, the They were treated as much as diorama itself was vacuum cleaned, possible in situ, so that the and excess grease and dust was decorative elements, which had been wiped away where required. The stitched or glued on, wouldn't be dance floor of the ballroom disturbed. Only occasionally was consisted of a circular disc. The it impossible to insert backing dancing couples were mounted on fabrics behind areas of loss separate smaller discs, secured without dissassembling the tiny through the dance floor. A garments. So, after cleaning the friction mechanism below this stage entire figure by gentle vacuum provided the rotary movement to the suction, and lightly discs, whereby the dancing couples surface-cleaning the wooden revolved. This friction system components (heads and hands) with wasn't working anymore, so it was distilled water, the main work removed for repair. New mechanical consisted of supporting weak areas parts were devised not to imitate and holes with suitable fabrics, the maker's style, but simply to and couching them down in the provide the required movement. A traditional manner. variable speed drill was used to provide the main drive. The drill (As mentioned in the previous has a gradual start-up acceleration article, Mr. Poulin's daughter, who preventing damage to the piece by worked in a textile factory, had instant and fast start-up speed. made the little costumes from all Two right-angle (drill drives were sorts of scraps of fabrics. These used to provide motion from were matched as closely as possible horizontal to vertical shafts. A with compatible materials.) Apart secondary motor (GM windshield from this major portion of the wiper motor) was used to provide treatment, some small commercial power to the uppermost balcony on flowers (bought as a nosegay) were the proper right side. dyed and added to flowerpots throughout the diorama where The diorama was placed on an originals were missing, to restore exhibition stand so that the the intended 'ambiance'. Jan ceiling of the ballroom could be Mulhall, who was working with us at installed, and to provide it with a 19 stable support. The angle of the warps and wefts of the tunic were curves required for the ceiling was made of two S-twist strands of taken from the actual curves of the mountain goat wool, plied together trailer's bulkhead. to form a Z-twist yarn. Warps were left in their natural off-white The 115V lighting and electrical state. Wefts were left natural system had been severely damaged, white, or dyed black (now brown), beyond repair. It had to be yellow, or green. Numerous twining replaced. A 12V system was techniques were used to create the installed. This ensured a lower pattern designs. Basically, the head production from the lamps, as design consists of repeating well as being much safer in case of totemic motifs on a ground accident. The flashing lights for patterned with brown and white the bathrooms were made to copy the triangles and zig-zags. The border effects of the original flashing consists of three wide yellow, lights. brown and white bands. CHILKAT TUNIC The tunic was heavily soiled, and in extremely fragile condition, The conservation treatment of a with major areas of loss, and Chilkat tunic, belonging to the numerous areas of weakness. Dyes Canadian Ethnology Service division tested fugitive to water, but fast of the Canadian Museum of to perchloroethylene. Civilization was completed. The tunic will be included in an The decision having been taken exhibit (travelling throughout the that this textile should be U.S., then back through Canada, exhibited, agreement was reached before going to the U.S.S.R. during further consultation with entitled "Crossroads of the curator involved, concerning Continents"), which traces the the degree of conservation cultural links around the north intervention. Basically, the tunic Pacific Rim, with particular was to be dry-cleaned, and weak attention to the Soviet and sections and areas of loss would be American ethnologists who did some reinforced. The visual image of early collecting in each other's the design motifs was to be countries. restored only to the point where the losses would not be obtrusive, The tunic was originally a and in such a way that treated blanket dating from the first third areas could be easily distinguished of the 19th century. According to from the original, by the trained documentation on file, it was made eye. An interior mount was also to into a dance tunic probably in the be made for the tunic. The piece third quarter of the 19th century. would thus be in a sufficiently The V-shaped lower edge and the clean and sound condition to be warp fringe were cut off, and the exhibited. After gentle piece was folded in half. The two vacuum-cleaning, and securing weak sides were stitched together, areas in cheesecloth, the tunic was leaving space for the armholes. dry-cleaned at a local firm, under The armholes, side seams, and hem my supervision. It was given were bound with red stroud. A slit minimal manual processing, owing to was cut in the fold to form the its fragile condition. Although neck opening. This was bound with some dirt discolouration remains in a ribbon with floral motifs formed the tunic, the physical condition by floats of the beige cotton warp and general appearance of the tunic against the ground of purple silk were much improved by dry-cleaning. wefts worked in satin weave. The 20 Following this, weak areas in the In order to provide the required stroud were backed with small support, and to hel p el iminate pieces of wool fabric ("Passepoil " flexing of the tunic when it is from Hefti of Switzerland), secured handled, an interior mount was in place by appropriate stitching made. Ethafoam was carved to shape with fine silk thread. Weak covered with polyester fibrefil, sections and areas of loss in the and silk fabric. The tunic was main body of the tunic were wider at the shoulders, so separate reinforced with a variety of shoulder supports were made, with tapestry wools. Rather than Velcro attachments. The neck reproducing the original twining opening, shoulder supports, and technique, new wefts were worked in bottom portion of the mount were by weaving over and under the warps also covered with linen, for visual of adjacent areas of weft loss. In effect. some places it was also necessary to lay in new warps. Both the Note: A minor amount of arsenic reinforcing technique, and the type IFIiat which gives spectrum of yarn selected, ensure that comparable to 0.25% to 0.9% arsenic conserved areas in the main body of standards) was found in the tunic, the tunic may be identified. by early analysis by the Analytical Research Services division of the (Note: 'Jumbles' of dark brown Canadian Conservation Institute. yarn at the mid-point of the edges In light of this, frequent of the design motifs were remnants handwashing during treatment was of weft tassels, which hung down required (protective gloves were when the tunic was in its original impossible to wear owing to static blanket form. No attempt was made build-up causing yarns to stick to to alter these, at the risk of the fingers). Blood tests showed losing this documentary that I suffered no ill effects in information.) performing this treatment. Clearly evident notes of caution, and The ribbon binding the neck disposable gloves, were included opening was also in weak condition. with the tunic when it was packed. Silk crepeline, laid overtop, obscured the ribbon to an In conclusion, I would like to unacceptable extent, so it was advise TCN readers that I intend to agreed that the inside edge would expand fully on this treatment in have to be opened up. A strip of an appropriate manner, hopefully by silk fabric, dyed to a suitable means of presentation at a shade, was laid underneath, and conference, in the not too distant secured to the selvedge of the future. The tunic will be on show ribbon, along the reverse side of at the new Canadian Museum of the ribbon's inner unstitched Civilization, from September 22, selvedge. The ribbon was then 1991, to January 26, 1992. refolded over the neck edge and restitched. The tunic was not provided with a complete lining, as this has been found in some instances to be an obstacle to researchers, even when 'windows' are constructed (see Colleen Wilson's note, in the March 1985 issue of TCN, page 3). Phocograph of Chilka: Tunic 21 before treatment: after treatment: Detail of shoulder (upper right above) before treatment: after treatment: Photographs courtesy of the Canadian Museum of Civilizairon. 22 OTHER PROJECTS AT THE CANADIAN some private training with a local MUSEUM OF CIVILIZATION, OTTAWA dry-cleaning firm. With more hands-on practice using the Care of Collections equipment and learning the procedures (further to the four-day A lot of time is currently being training course I participated in spent on ' care of collections' at the New York School of treatments. These are for pieces Dry-Cleaning, in the summer of urgently requiring attention, which '86), I will be better able to are not slated for particular evaluate personally the potential exhibits, and include Haitian, success, and precautions requi red, Egyptian and Chinese costumes from in the use of dry-cleaning the Canadian Centre for Folk techniques, and especially spotting Culture Studies (division of procedures for stain removal. I'm C.M.C.). glad to be gaining more expertise in this area so that I can decide Upcoming Treatments also if we should order a spotting board for the C.M.C. Textiles We are preparing to start work on Laboratory in the new building. a group of textiles intended for (In this regard, I attended the display in the "Chinese Canadians" "Clean Canada Update '88" trade exhibition. This will be held in show of dry-cleaning equipment, the Ethnic Hall at Parc Laurier, held in Montreal, on April 22. I when it opens in July '89, and will brought back brochures on various focus on the contribution of the pieces of equipment for each of the Chinese community in Canada. More textile conservators in Ottawa.) details about this in the next Unfortunately, my training, issue of T.C.N.. although excellent, is somewhat sporadic at the moment, owing to Dry-Cleaning difficulties with schedules. I'm hoping that the hectic business Dry-cleaning techniques for the pace of the firm I am working with treatment of costumes and textiles won't impede my progress. ·Frankly, have been the subject of much the firm has been very generous to recent investigation in our lab. offer me this training free of This has been with a view to the charge. The individuals with 'whom needs of our Folk Culture I have been dealing have extensive collection, in particular, which experiences working with historic includes many modern, sturdy ethnic textiles. (One gentleman worked in costumes. Heavy soiling with a dry-cleaning firm in London that makeup, food, beverages, etc., is dealt with textiles belonging to common to theatrical and dance the Victoria and Albert Museum, costumes, and in many instances can before emmigrating to Canada 20 be successfully prespotted for years ago. Another man has removal during dry-cleaning. I am specialized in the treatment of of the opinion that these textiles theatrical costumes.) They are call for a different approach than actually eager to have me work with that which would be taken in the them, as it gives them a change of treatment of older, more fragile pace to discuss procedures with a period costumes, for example. In textile conservator. So I am view of the important role optimistic that my early Saturday dry-cleaning methods are playing in morning sessions (7:30 a.m. start) the conservation of textiles in the will proceed, and be well worth the C.M.C.'s collection, I have begun investment. 23 One last point of interest - this When the Ethnology Laboratory of dry-cleaning firm is planning to the Canadian Conservation Institute give a short course in prespotting. received a woven cedarbark mat for They have invited textile treatment in November of 1987 these conservators in the Ottawa area to problems were considered and a participate. I have al ready support device was designed to contacted my colleagues here, and minimize them. The mat which we are all looking forward to measured approximately 1.4m x 2.lm hearing when the date for the had been divided into four separate course is set. sections due to repeated folding with some loss of cedarbark at the Mannequins fold lines. We have been asked to prepare two Design and Construction male mannequins for the Art Gallery of Ontario, for the display of two The support designed and built costumes in their exhibit "Picasso consisted of a large wooden frame, in Toronto" collections which is to 6' x 8*' which was strung tightly run from July 30 to October 2, at 3" intervals with 40 lb test 1988. We welcome this opportunity monofilament nylon line. This to work further on the ethafoam provided a sturdy support for the disc technique. C.M.C.'s needs for mat and gave the added benefit of mannequins for exhibits for the new access from both sides. The frame museum have not yet been was supported at either end by established, so until now, work on telescopic legs which adjusted from this project has been on hold since 3' to 4*' in height. A dowel 11" last fall. thick which projected from either end of the frame passed through the Julie Hughes upper portion of the leg to allow Ruth Norton the frame to pivot to any desired Han Jongejan angle for access to the centre of Textile Laboratory the mat during treatment. To lock Conservation Services Division and support the frame at the Canadian Museum of Civilization desired angle two semi-circular supports, drilled every 9' with 1" A SUPPORT FOR LARGE FLAT ARTIFACTS holes were placed at either end DURING TREATMENT underneath the frame. The holes coincided with a vertically sliding Many of us have experienced the arm on the inside of either leg, tedium of endless hours bending through which the supports passed. over or lying over a large flat (See Figures 1 & 2) with the artifact during a lengthy addition of extendable wooden arms treatment. To further complicate on all four corners of the frame matters these objects often come the device can be used to support into a lab in such a state that large pallettes. they are required to be laid out The device has extensive flat due to tears through the main applications in the fields of body of the piece. This makes the ethnological, fine arts and textile treatment of areas near the centre conservation. an uncomfortable and lengthy process. 24 MANNEQUINS AND HEADFORMS: \\ I\\\\\\\\\\\\V - rf.02* During the past year, the Textile \:. Conservation Laboratory at the Canadian Parks Service, Historic 1 Resource Conservation Branch, was involved in the construction of ------2-....Al mannequins to display military jackets and headforms for military headdress. After researching different methods, it was decided to make the torso of the mannequins and the headforms using ethafoam Figures 1&2 discs. This method was described by Colleen Wilson in her article entitled "Body Building" in the September 1982 issue of TCN. Reference to this article may be required as the construction of the torso will not be repeated in this report. In this article, a description of the construction of the arms, the headform, and the base for both headform and torso will be discussed. Arms: A certain fullness at the sleeves is aesthetically more pleasing when a costume is displayed on a mannequin. We, thus, decided to pad the sleeves with fiberfill batting to simulate the arms. The device, although Certain measurements were taken: rather large, has the potential for the length of the sleeve, the saving space since it eliminates circumference of the sleeve at the the need for both a large flat widest points the ci rcumference of table and a large easel. There is the cuff and the contour of the no need to transfer the artifact shoulder. From those measurements, between two supports, and al so the width of the arm was calculated since it is accessible from both and the number of layers of batting sides, due to the nylon line, no was chosen. need to turn the artifact over Two strips of batting, during treatment. For storage, the support can be disassembled and approximately eight inches wide, were cut. The fiberfill batting stored flat against a wall, thereby was one-half inch thick. Each further saving space. The time strip was separated into two layers taken to construct the device, in order to obtain four thinner approximately four days, seems strips. insignificant when considering the time and trouble it can save during a lengthy treatment. Phil White Canadian War Museum, Ottawa 25 The narrow end of the strip was Headforms: placed at the tip of the shoulder, slightly towards the back and was Similar to the mannequins, the shaped to the contour of the headforms were made with ethafoam shoulder. discs. Here is a brief The batting was pinned in place description. and was loosely basted to the form. Inside measurements, such as the The width of the arm was circumference and the height of the gradually narrowed down to five headdress, were taken. For the inches at the cuff. circumference, one inch was The jacket was fitted on the subtracted to allow for ease and torso and the shoulder of the arm addition of the fiberfill padding. was further adjusted to the Measurements were taken at shoulder of the jacket. The length intervals corresponding to the of the arm was altered accordingly. thickness of the ethafoam. The other strips of batting were The shape of the headdress was subsequently placed over one examined. Using a tape measure, another, shaped at the shoulder and the shape was drawn on paper and basted. transferred onto the ethafoam. The width of the batting was Each disc was numbered. gradually shortened at the elbow The ethafoam disc was cut and and at the widest circumference of glued together with 3M adhesive No. the sleeve to achieve the desired EC 1886. fullness. (See drawing #1) The rough edges were removed with A strong cotton thread and large a knife having a long serrated cross stitches were used to sew the blade and the form was smoothed arm to the shoulder, as well as to down with a small hand grinder. secure the subsequent layers in A drycleaner plastic bag was then place. (See drawing #1) placed over the form to allow easy removal of the headforms during fittings. The shape of the ethafoam was corrected with fiberfill batting. The fiberfill was secured to the form with heavy cotton thread and a large curved needle. The form was covered with a prewash knit cotton fabric. The excess fabric was cut at the bottom leaving about one inch. A running stitch was sewn around the bottom The fiberfill arm in the sleeve of the form within the extra one of the jacket is portrayed in inch. The thread was pulled to drawing #2. gather the fabric. Another piece of the same fabric was placed at the bottom of the form and sewed to the covering fabric using slip stitches. Headform Base Construction: #2 The shape of the bottom of the headform was traced on a paper. A i inch was removed along the inside circumference and the paper pattern was cut. 26 The pattern was placed on a * along the edge of the holes and a inch plexiglas. The shape was peg was placed at each hole, flush traced and the plexiglas was cut. to the underside of the sheet of The edges of the plexiglas were plexiglas. polished until smooth. As for the A rectangular piece of * inch forage cap, the piece of plexiglas plexiglas was cut slightly smaller was extended beyond the headform so than the width of the headdress. as to fully support the visor. The sheet of plexiglas was bent and (See drawing #3) shaped to obtain a three- dimensional base and adhered in place with Weld-on 16. (See drawing #4) The position of the three pegs was marked onto the bottom of the headform. A backstitch was sewn around the indicated areas. The knit fabric was cut and three holes, slightly longer than the length of the pegs were drilled in the headform. #3 The headform was placed on the plexiglas base. (See drawing #5) From i inch in diameter plexiglas rod, three pieces, approximately 1* inches long, were cut. These pegs were placed, at approximately 2* inches apart on the piece of plexiglas and their position was indicated. At each point, a hole, slightly larger than the diameter of the peg, was drilled. A small quantity of adhesive, Weld-on 16, was placed #5 Mannequin Base Construction: Base 1 The shape of the bottom of the torsos was traced on a paper. A L inch was removed along the inside #4 circumference and the paper was cut. 27 The pattern was placed on a k Base 2: inch plexiglas. Thd shape was traced and cut. The edges of the As in base 1, a circular piece of plexiglas were polished. plexiglas was cut 1 inch smaller The circular plexiglas was then than the circumference of the base adhered to the bottom of the torso, of the torso. using 3M adhesive No. EC 1886. A plexiglas rod, two inches in A rectangular piece of * inch diameter, was cut to the desired plexiglas was cut smaller than the length. The height of the width of the circular base. mannequin corresponded to the total The mannequin was to be displayed height of the person wearing the in a showcase of restricting jacket. The height of the base was height. The height of the base was prepared accordingly. adjusted consequently. A circular piece of J inch thick The rectangular piece of plexiglas was cut approximately 12 plexiglas was bent and shaped to inches in diameter. This larger obtain the desired shape. (See piece will be the foot of the drawing #6) base. The two circular pieces were attached at each end of the rod with a screw. (See drawing #8) The torso was placed on the base and secured in place with two screws. (See drawing #9) #6 The plexiglas base was adhered to the bottom of the torso with Weld-on 16. (See drawing #7) 11 #8 #9 c=J 1 28 The jackets and headdresses are ALTERATION OF A DRESSMAKER S now on display at Fort Wellington, MANNEQUIN National Historic Parks, Prescott, Ontario, and at the National The alteration of a dressmaker's Archives in Ottawa. mannequin was needed in order that the garments designed for wear by I would like to acknowledge the the interpreters in our Historic effort and help of the Furniture, Parks and Sites could be accurately Furnishings and Reproduction constructed. Section, Historic Resource Conservation Branch, Canadian Parks The designers of the Costumes and Service, for the construction of Textiles Resource Group, the plexiglas base for the Interpretation Branch, National headforms and base 1 requi red for Historic Parks and Sites the torsos. Directorate, Canadian Parks Service, design and construct Further acknowledgements go to patterns and prototypes which are the Exhibition Services at the used in the reproduction costume National Archives for the programs in the Historic Parks and construction of the plexiglas base Sites. 2 for the torsos. The patterns are designed and Lucie Thivierge made to specific standard sizes. Textile Conservator All development and construction of Historic Resource Conservation prototypes are done in size 12 Branch Miss. A dressmaker's mannequin was Canadian Parks Service purchased (from Wolf in New York) Ottawa which corresponds to size 12 Miss of CPS's standard body Sources of Supplies: measurements. The shape of the mannequin is that of a modern 1. 3M adhesive No. EC 1886: figure, since that is the shape the Adhesive Coatings and Sealants final garments must fit. 3M Canada Inc. Post Office Box 5757 Silhouette is one of the most London, Ontario important considerations when the N6A 4T1 patterns and prototypes are designed. Since women in the 19C Please refer to the Commercial wore corsets which changed the Product Analytical Repons ARS silhouette of the body and the 1805.3, published by the Analytical interpreters in most of CPS' Sites Research Services, Canadian do not wear corsets, the cut of the Conservation Institute, 1981. garment must give the proper silhouette of the period. 2. Drycleaner plastic bag: Groulx Robertson Ltd. After saying all that, the 1177 Newmarket problem with the mannequin was that Ottawa, Ontario it was made of an inflexible K18 3Z1 material and the prototypes which Tel. (613) 749-5939 are designed to mould the body into the proper shape would not fit 3. Weld-on 16 and Plexiglas: properly on the mannequin and it Cadillac Plastics was very difficult-near impossible- 155 Colonnade Roads Unit 6 to design a pattern, that would Nepean, Ontario reshape the body, on a mannequin K2E 7K1 that was inflexible. Tel. (613) 226-7487 29 The critical area of the mannequin was the bust area. With the assistance of Historic Resource Conservation and a very observant shopper in a bicycle shop, a solution was found. What was needed was a substance that had the same malleable properties as human flesh. The observant shopper saw a bicycle seat which was padded with a substance that moulded to the rider and softened the ride at the same time. After some investigation, it was revealed that the substance was called Spenco and it was used also i ..\ for protecting wounds and surface # 1 1 irritations from pressure. Spenco is hypoallergenic, hospital clean (not sterilized), gas sterilizable, may be treated \1 with antiseptics, and can be washed for reuse. It, however, should not be autoclaved. Procedure 1. The mannequin was carefully 5. The mould, described in Step 2, measured, all tapes and nails was lined with a thin layer (about identifying measuring points were 5mm thick) of silicone rubber marked on a drawing. called RTV Wacker. 2. A mould was made of the upper 6. Approximately 11 pads of Spenco front torso. Polyethylene film was (10cm x 10cm x 1.5cm) were put in used as a separator and a two part each indentation in the mould, it rigid 2 1b density polyurethane was heated to its melting point foam mixed and it foamed into with a heat gun, and it conformed place. A second layer of poly- to the shape of the mould. ethylene was used on top to contain the expanding polyurethane foam. 7. The Spenco adhered lightly to the silicone lining. The new form 3. The mannequin was disassembled was released from the polyurethane and the outer layers of linen, form, positioned onto the bass wood cotton batting and cotton knit were insertion on the front of the retained. mannequin, and it was stapled in place around the edges of the 4. The mannequin was constructed of silicone layer. a moulded cardboard substance which was approximately 5mm thick. The 8. The covering layer·s were bust shape was cut away and a piece replaced making sure that the of bass wood was screwed in place original measurements were and carved to simulate the skeletal restored. shape of a ribcage. The wooden insert had to be thin enough to clear the mechanism inside for the collapsible shoulders. 30 Results CONSERVATION INFORMATION NETWORK The alteration does what was By now most of you have probably expected and the procedure was heard about the Conservation successful. However, after the Information Network (CIN). It is a mannequin had been used for four collaborative venture between the months, a stain on the outer layer Getty Conservation Institute (GCI), of fabric was noticed around a the Canadian Conservation Institute nail. The stain seemed to have a (CCI), ICCROM, ICOMOS, the light oily feel. The separation of Conservation Analytical Laboratory the oily silicone substance of the Smithsonian Institute and probably occurred during the the Canadian Heritage Information heating process in Step 6. This Network (CHIN) which provides the would seem logical because the technical support. These instructions on the packaging warns institutions contribute a wide not to autoclave the product. variety of information relevant to the conservation field. Ruth K. Mills, Senior Period Costume Designer Here is a short summary of the National Historic Parks and Sites three main databases accessible Directorate through CIN. For more detailed Canadian Parks Service information I recommend that you Ottawa read John Perkins' paper on "The Conservation Information Network" Source for Spenco Dermal Pad: ICOM Committee for Conservation Sydney Australia 1987, Vol. 1 page Spenco Medical Corporation 255-260 or contact the Network, c/o Box 8113 Getty Conservation Institute, 4503 Waco, Texas 76710 Glencoe Avenue, Marina del Rey, California 90292-6537. Spenco (U.K.) Ltd. Tanyard Lane 1. The Conservation Bibliographic Steyning, West Sussex Database (BCIN) covers all England BN4 3RJ conserva-tion literature that relates to the principal of conservation and restoration of movable and immovable cultural property. Citations include published and unpublished monographs, serials, conference proceedings, reports, theses, audio-visual material, software, and machine-readable files. This database contains over 100,000 citations. 2. The Conservation Materials Database (MCIN) The first form of this database was developed at CCI and later merged into the Materials Database. It contains information on materials used in conservation. Each material has two types of records, one 31 technical, the others observed. SAVE THE SILKS! PROTECTION FOR The technical record holds WEIGHTED SILKS scientific information such as STELLA BLUM RESEARCH GRANT manufactures datasheets and Sponsored by the Costume Society research results. The observed of America records contain the formulation Report Presented at the Annual or mixing recipes of a product Meeting of the Costume Society and observations made by a Cincinnati, Ohio conservator when using the May 23, 1988 material for a specific by conservation application. Merrill Horswill PhD Candidate At this time MCIN holds University of Wisconsin, Madison approximately 1,500 records in four major catagories: The purpose of this study is adhesives, consolidants, twofold: to determine what coatings and pesticides. Other weighing agents were actually used catagories will be added such as and to test the effectiveness of solvents, backing boards, the patents claiming antioxidation pigments, storage and display protection for weighted silk with materials. regard to photo-oxidation (deterioration due to light). This 3. The Conservation Product/ study looks at the effectiveness of bupplier Uatabas-e (ALIN) the antioxidants on both new and This database holds information historic silks under natural and on suppliers and manufacturer of artificially accelerated aging products used in conservation conditions. The following research treatments. It contains all the questions are considered: i nformation necessary to be able to order products that could be -What weighing agents are found on of interest to a conservator. historic silks? -Do the protective agents work To make the last two databases under differing lighting MCIN and ACIN truly useful to us conditions? as conservators it is essential -Are the protective patents that we all contribute effective for historic textiles? information. Only through our -Could the protective agents be contributions will the Network used by conservation professionals become beneficial to all of us to retard the deterioration of and the information will remain weighted silk costumes? current. Contributions can be made by filling out the attached Methodology Entry Forms. For your convenience we have added The study has several phases, Example -Forms on how to enter based on the different types of your information. Even if you data required by the different do not have access to the research questions. Conservation Information Network, please contribute. Phase 1 Many of us who have access are willing to share with you the Historical data on the exact information we can retrieve. nature of the patent formulae was obtained from Patent Office files Ela Keyserlingk in Washington, D.C. However, the Textiles Division agents utilized in early 1900 were Canadian Conservation Institute found to be unacceptable today, as Ottawa they are now known cancer causing 32 agents. Therefore, I investigated antioxidants and divided into two antioxidants now in use in the samples. One half of the sample synthetic polymer industry and was wrapped in acid free tissue and contacted the manufacturer. The maintained in dark storage in the Witco Chemical Company of New York Helen Allen Collection, in the has donated two different Department of Environment, Textiles antioxidant compounds for this and Design. The other half of the study. sample is currently being aged under ultraviolet light. These Phase II samples will be compared to unweighted new silk by testing with Understanding what is actually on two common tests for deterioration. the historic garments is Tensile strength will be measured preliminary to treating the on a Scott Tester and silk deterioration. Therefore I was yellowing will be measured on an anxious to obtain samples of actual Ultraviolet Colorimeter, both garments which could be analyzed available in the Textile Research for weighting agents. Many samples Laboratory in the department. were donated by members of the Costume Society and various Results to Date institutions. The majority of the costumes were deaccessioned from Historic Silk Samples the Neville Public Museum in Green Bay, Wisconsin and donated to the The historic costumes were used University for this research. In to document the type of total, 40 historic garments, dating deterioration and the possible from 1850-1930 were analyzed using cause. The type of weighting agent two techniques, Scanning Electron present was assessed with the Microscope with Energy Dispersive following tests which yielded both X-Ray Spectrometer (SEM/EDS) and expected and unexpected results Neutron Activated Analysis (NAA). SEM/EDS. Both tests have previously been utilized for historic textiles. The Scanning Electron Microscope Scanning electron microscope (SEM) was used to photograph analysis has recently been used on individual silk fibers magnified up weighted silk at the Smithsonian to 2000 times. Unlike the smooth Analytical Laboratory(1) and fibers of new silk, the photographs Neutron Activated Analysis was of the historic silks show cracked reported in a study undertaken at and deteriorating fibers, even when Kansas State University.(2) These the garment itself appears to be in techniques were chosen because they fairly good condition. This utilize small size samples and they finding indicates that physical are available at the University of damage is taking place at the Wisconsin, Engineering Department. microscopic level resulting in a slowly deteriorating condition. Phase III The x-ray equipment, EDS, was used to analyze the elements present on Controlled laboratory research is the surface of the silk. As being conducted with new silk expected, tin-silicate and iron purchased from Test Fabrics. This were found in quantities up to 75% silk was weighted with tin-silicate of the weight of the fabric. While following an early patent formula. this data must be analyzed further, The silk was then treated with the 2 the overall conclusion can be made that tin-silicate was the weighting 33 agent used on light and colored collection, the arsenic may be part silks while iron is primarily found of the museum environment. Another on black silks. explanation is that arsenic is present as lead arsenate, a known NAA weighting agent. Lead is an element with a very short half life Neutron Activated Analysis (NAA) and could not be confirmed with is a sensitive technique which either test. However, there are detects any elements present except common tests for lead which could those with extremely short be utilized for this study. The half-lives. The samples were detection of lead would mean that irradi ated in the neutron reactor the problem of arsenic on the and results given in parts per historic samples is directly million. Two samples of new silk related to the weighting process. were also analyzed for comparison. Further analysis is necessary to As expected, the historic silks understand this data. contained large quantities of tin and iron (up to 600,000 parts per A simple test has been developed million), while no such metals were for the detection of arsenic which present on the new silk. does not require a laboratory, but should be conducted in a While.the Neutron Activated well-ventilated area.(4) When Analysis confi rmed the presence of handling weighted silk, good tin and iron found with SEM/EDS, it personal and laboratory hygiene is also generated some unexpected essential; the use of light rubber results, raising further questions. or plastic gloves and protective Trace amounts of gold were found on clothing is strongly recommended about half of the historic samples, and a dust mask should be worn when with none found on the new silk. working with any specimens which Since gold was never a known are dusting. weighting agent, and the amount is slight (100 parts per million), the New Silk Samples gold is most likely a contaminate in other metals. The new silk samples were weighted and treated with The other, more serious finding antioxidants. The antioxidants is the presence of arsenic on all used in this study are phosphites, the historic samples. The amount which have been shown to be of arsenic varies among the effective nondiscoloring samples, but significant quantities photostabilizing agents.(5) The (up to 10,000 parts per million) antioxidants were dissolved in were found in over half the tetrachloroethylene, a solvent samples. No arsenic was found on commonly used in cleaning new silk. There are two possible procedures of museum textiles. The explanations for the presence of textiles were immersed and air arsenic in the historic samples. dryed. The samples to be aged were Early museum practices included the placed in an ultraviolet light application of arsenic as a pest chamber for six months. At the end control. This was especially true of this aging, the samples will be of natural history museums and subjected to testing for signs of presents a problem in those museums comparative deterioration. Results today.(3) Since most of the of this analysis will be samples used in this study were forthcoming. originally part of a public museum 34 1 Mary Ballard, et. al., "Weighted CONSERVATION ALERT: HARMFUL Silks Observed with Scanning BUTTONS & BUCKLES Electron Microscopy", Proceedings Recently we cleaned an of Scanning Electron Microscopy, interesting sheer cotton dress (c. (New Orleans, 1986). 1930) belonging to the Provincial Museum of Alberta. The dress was 2 L.A. Telthorst, Energy in good condition except in a few Dispersive X-ray Fluorescence localled areas. Below the buttons and Neutron Activation Analysis and at both ends of the fabric belt of Historic Silk Textiles, the fabric had a purplish (Unpublished Master's Thesis, discolouration and was very tender. Kansas State University, We noted that the discolouration Manhattan, 1983). and tendering occurred in areas where the buttons and plastic belt 3 C.A. Hawks, and Stephen were in di rect contact with the Williams, "Arsenic in Natural cotton fabric. If you have read History Collections", Leather David Hillman's excellent article, Conservation News, 2, 1986, "A Short History of Early Consumer P.1. Plastics", (IIC-CG Vol. 10&11, 1985/86), you will know that 4 Ibid., p.3. cellulose nitrate was commonly used for buttons, clasps, buckles, beads 5 Kimberly Asche and Patricia Cox and stays in the late 19th and Crews, "An Evaluation of early 20th centuries. Cellulose Antioxidants for the nitrate plastic was sold under many Conservation of Museum Textiles, trade names listed in Hillman's Clothing and Textiles Research article and was often used as a Journal, 6, 1988, p.11. substitute for ivory. It is a highly flammable material and slowly releases acidic fumes of nitric acid. If left in contact with cellulosic fabrics for a long period, cellulose nitrate may cause acid damage like that we saw on the cotton dress. We washed the dress and belt in order to clean and neutralize them. Because of the damage the buttons and belt buckle were causing, it was necessary to remove them and store them in air tight containers. We always try to avoid removing buttons and other findings from historic garments, but sometimes this action is necessary. Incidentally, we confi rmed that the plastic was giving off acidic fumes by wrapping the buckle in polyester film with a piece of litmus paper, then heating the buckle at 40C for half an hour. The litmus paper turned pink. The first sign of 35 of problem buttons will be a 2000-1500 B.C. Working with Diane discolouration of the fabric below McKay, our paintings conservator, the buttons. Blues and browns the lab is now establishing the typically change to a pinkish shade requirements for such objects which if exposed to acidic fumes. The cannot be treated solely as following test can be used to textiles or as paintings. identify a small fragment of nitrocellulose: add one drop of 1% Several volunteers and students diphenylamine reagent (1.0 g of have been working in the Textile diphenylamine in 100 g of conc. Conservation Lab. Ruth Atwood has H2504) to the fragment and the been here for a period of two nitrocellulose will give a blue months before she entered the colour. Masters Program in Conservation at Queen's University. Debbie Nancy Kerr Livingston, a student from the University of Alberta Ontario College of Art was in the Lab once a week from September 1987 NEWS FROM THE ROYAL ONTARIO MUSEUM to May 1988 completing work for an independent studies course for her The Textile lab is currently diploma in textiles. Brenda concentrating on preparing Bennett from Sir Sandford Fleming materials for new galleries. College in Peterborough is now at the end of her four-month For the European Gallery, internship. She did work on conservation of 18th c. costumes several objects, one of them a has been completed and treatment badly damaged uphol stery panel started on 19th c. costumes and covered with glue all along the accessories. Two dozen laces from edges. One third of the silk the 16th - 19th c. have already embroidery motif was also covered received treatment including a with a layer of shiny adhesive. bolster lace pillow. Three Torah Another of Brenda's projects was an binders, on loan from the Betz umbrella with torn and frayed lace Tzedec Museum are also ready. edging. Mrs. Marion Postlethwaite and Mrs. Jeune Cartwright are For the Egyptian Gallery, a group working in the lab as volunteers of eight linen tunics and winding one day a week. Marion recently sheets, most of them from the New completed a Chinese kimono for the or Middle Kingdom, are also partly Discovery Gallery and is now finished. They required mostly working on a Chinese wallhanging, cleaning and mounting and in some struggling successfully with cases, special care with a fringe. reattaching gold metal threads. The oldest textile fragment from Jeune is working with beaded the Middle Kingdom still awaits dresses from the 1920's. She conservation; the fragment is not recently completed a reproduction only pleated but the pleating is of the Order of the Garter from the twisted diagonally at regular Queen's coronation dress. The intervals forming an intricate reproduction ribbon was ordered pattern. from the Central Chancery of the Orders of Knighthood in London, Another group of textiles for the England. Egyptian Gallery consists of painted textile fragments from Izabella Krasuski Conservation Department Royal Ontario Museum 36 REPORTS ON CONFERENCES, MEETINGS, Vicky Kruckeberg, Curator at the COURSES .... Detroit Historical Museum, talked about traditional stitching Stitching Symposium techniques, and noted that conservation literature with "Stitching" is a difficult and consistent and detailed information occasionally controversial topic on stitching, the stitches chosen among textile conservators. This for a treatment, and/or rationale is an aspect of our work which behind those choices, does not connects our profession to hundreds exist. She also outlined a of amateurs in uncomfortable ways. criteria for "good" stitching: it If you don't believe this is true, must be strong -- but not too think of how careful we are to call strong, tight -- but not too tight, what we do with a needle and thread smooth, supporting, unobtrusive. stitching rather than sewing. To achieve this end, we rely on an Another example of the understanding of the materials and controversial nature of this operations involved that is never subject is the long gestation articulated. period for the Stitching Symposium, sponsored by The Textile Betty Kirke spoke next. She Conservation Group, and held at the began by describing her background, Fashion Institute of Technology first as a "home sewer" then (FIT) in New York City April 16, training in haut couture at the Art 17, and 24. Institute of Chicago, a shift into the mass production side of The first day of the symposium clothing business, and ultimately was eight presentations, by textile to costume conservation at FIT. conservators and others. The second, a hands-on workshop was Ms. Kirke described the offered on two days to accomodate differences between traditional all registrants. haut couture and mass production sewing. She categorized mass The program on the 16th was production in general as a feat of divided into two parts: in the engineering, with everything morning, speakers gave an overview thought out, while haut couture of stitching practices, and the implies the best sewing, and often title of the afternoon session was little planning. The absorption "Conservation Stitching into each of these branches of some Applications.U of the methods of the other was noted, too. Ms. Kirke continued The morning session began with a with a discussion of the different welcome and introduction written by kinds of sewing used in clothing Patricia Ewer, delivered by Bruce constructions described a rationale Hutchison. (Ms. Ewer, the for each situation of use, and organizer of the Symposium, moved showed diagrams of stitches, to North Carolina in late March, clothing details where such sewing and was unable to attend.) This is employed, and occasionally the introduction noted that stitching adapted or comparable sewing in a is a skill we all take for granted mass-produced ltem. but which, nonetheless, is one of the most important tasks we perform The third speaker of the morning regularly. was Gillian Moss, Assistant Curator 37 at the Cooper Hewitt Museum. In Straight needles are preferred, her talk on darning samplers, Ms. with the curved needle cited for Moss told of their function as mounting and beading needle for lessons in the repair of damaged repair. Of threads, Ms. Willman household linens. Regional and noted that cotton below size 100, chronological differences were silk sizes A & 8, embroidery floss mentioned, and the variety of and crepeline are the preferences weaving patterns imitated were also of most respondents. Linen, remarked. Ms. Moss pointed out polyester/polyester blends, and that the motive for learning to nylon are used infrequently. darn was repair for re-use, and not stabilization for study and On return from lunch, Zoe exhibition, but the means to these Annis-Perkins described the different ends are sometimes technique she uses to mount flat similar, as in the need to anchor textiles at the St. Louis Art the repair patch in a strong Museum. Stating that she has yet section of the goods. to find an ideal fabric for this situation, she prefers a The final speaker of the morning satin-weave undercloth when was Polly Willman, Costume and creating a permanent mount, as its Textile Conservator at the Brooklyn structure provides additional Museum. She reported some results support. She machine-sews this of the questionnaire distributed undercloth a foam-bord, which with the notification of the raised some discussion from the Stitching Symposium. This 4-page symposiasts whether the stitch line survey asked for information on was a stronger or weaker point in stitching practice, supplies, and the mounting system. Ms. training. Response was about 2%, Annis-Perkins continued with her which Ms. Willman felt was description of mounting a textile; significant for analysis. she stitches it to a fabric, and Remarking that other information attaches that fabric only to the can and will be culled from the support, using an overcast responses, she presented the (herringbone) stitch. If the following: article is to be contained in a frame, this is built out at the -Average years in conservation: 9. bottom so the textile is never The questionnaire had asked for stored or displayed perpendicular response based on the past five to the floor. years. -Most used stitches: running Polly Willman's afternoon talk stitch and couching stitch. was called "Stitching Techniques Running is used for mounting Used in the Repair of Costumes and textiles, attaching velcro, and Textiles". She began by mending seams, couching for acknowledging that stitching is not repair. Tacking stitches were a the sole remedy in repair but that close second to these two. it is a time-proven technique. She -Greatest range of stitches feels that damage from stitching so indicated: mounting flat often cited as the justification textiles. for the use of adhesives is a -Least range of stitches indicated: result of inappropriate stitching attaching velcro. Repair of techniques rather than impropriety frayed tears and repairs to holes of method. She then continued, or frayed holes fell between the emphasizing first the need to extremes in vari ety of stitches understand the materials employed, employed. and describing the traditional 38 functions of the stitches cited in machine sewing and the potential her questionnaire. Ms. Willman damage resulting to fiber or also noted the range of objectives fabric. for stitching; to sew two pieces of fabric together, to repair, to The day concluded with a question embellish. She stressed the use of and ·answer session. support fabric as an aid to stabilization, transferring a The second day, conceived, continuity of weave. Once the organized and led by Polly Willman, stitches have been taken, both was an occasion to discuss the stitches and support fabric should practical aspects of stitching. act to immobilize the object and so Different stitches and their protect it from further damage. appropriate uses were outlined, as The technique employed should vary were the variety of needles and with the object and type of threads and the criteria to judge damage. which type of stitch to employ. Emphasis was on self-teaching, and Bruce Hutchison, Tapestry a sharing of practices among Conservator at The Cathedral of St. participants. The balance of the John the Divine, then presented day was spent practicing the "Stitching Techniques Applied to stitchwork discussed. Large-Scale Textiles". He described types of stitches Vicky Kruckeberg pointed out the encountered in large textiles, paucity of publications and tapestry in particular. This discussions on stitching, and this included a discussion of reweaving lack was brought home by the other as a repair technique, original and speakers, both directly and replacement stitches encountered in indirectly. No one disputes the joining slits, the variety of need for more presentation and stitches used with different discussion of stitching practices methods of support - partial, full, in textile conservation, or the or vertical straps, and stitches need for the examination of many for display devices. Mr. Hutchison aspects: from such simple areas as did mention that the problems development of a common glossary of encountered in large textiles terms, to study of the physi cal though in theory identical to those forces involved in the types of in smaller-scale objects, are stitches, to the importance of such magnified disproportionately. This variables as thread type and is particularly evident in devising support fabrics. The Stitching a support system for the whole, and Symposium was a beginning, but it he referred to the need to should not also be the end. distribute the tremendous weight safely, while causing neither Sarah Lowengard visual distortions nor potential Textile Conservator locii for further damage. 1080 Park Avenue, #5W New York, N.Y. The final speaker of the day was 10128 U.S.A. Ann Matthews, graduate student in the Department of Textile Management and Technology at North Carolina State University. Her talk was called "Monitoring Stitching: Industrial Environment°, and it described a method to quantify needle action in 39 Inuit Clothing Conference hazardous to be handled. A word of warning was given: if there is no The Inuit Clothing Conference sign of infestation or insect sponsored by the Centre for damage in an old piece that is just Northern Studies and Research was entering the collection, there is a held at McGill University May 5-7, distinct possibility that it has 1988. It brough together, for the been treated with a hi·ghly toxic first time, a group of very chemical such as DDT or arsenic. knowledgeable people from Denmark, Greenland, Norway, and points north This author attended the and south in the United States as conference with no prior knowledge well as Canada who were all of Inuit clothing and left with a interested in Inuit and arctic healthy respect and admiration for clothing. the Inuit people and their intimate knowledge and relationship they Summarizing the list of topics is have with their environment. difficult because of fear of Traditionally, an Inuit's most forgetting to mention all the valued possession was hls set of important aspects that were skin clothing. The mere fact that covered. Presenters covered the the Inuit survived in such a harsh following topics: and unforgiving climate is awe inspiring. Inuit furs as fashion; clothing in Inuit legends; introduction to the Ruth Mills Inuit clothing collection at the Costume & Textiles Resource Group Canadian Museum of Civilization; National Historic Parks & Sites symbolism in Inuit clothing; the Directorate Amauti; artistic tradition of the Canadian Parks Service parka; arctic clothing in Europe; use of Inuit clothing by British There are plans to publish the Explorers in the late 19th Century; proceedings of this three day influences that physical and social conference and for more environment have on Inuit clothing; information, please contact: prehistoric ulus; skin clothing in Kakligmiut culture of Alaska; Centre for Northern Studies and ownership markings; working with Research the Inuit clothing collection at McGill University the National Museum of Denmark; 550 Sherbrooke Street West tattooing; and videos on sealskin Suite 460, West Wing clothing and making caribou Montreal, PQ, H3A 189 clothing as well as an entenaining fashion show of contemporary Inuit skin clothing and a visit to the new exhibit called Ivalu presently on display at the McCord Museum. A concern for the safety of curators and conservators who work with previously treated collection was raised. It was discovered that the Inuit clothing collection at the National Museum of Denmark had been treated with DDT as a pesticide. Complicated attempts to remove it failed to remove all of it and the collection is now very 40 EXHIBITIONS "Sleep Tight": Quilts, Coverlets and Sleepwear from the Canada Collection" Germantown Historical Society "Traditions of Inuit Clothing" Germantown, PA McCord Museum of Canadian History Through 1988 Montreal, Quebec Through January 10, 1989 "Fortuni" De Young Memorial Museum "Unlike the Lillies: Doukhobor San Francisco, CA Textiles and Tools To October 16, 1988 Royal British Columbia Provincial Museum, Victoria, BC "Spain's Carpet Heritage" Through July 8, 1988 The Textile Museum Washington, D.C. **** To October 2, 1988 Ukrainian Museum of Canada "Interlacing: The Elemental Saskatoon, Sask. Fabric" October 30 - December 4, 1988 The Textile Museum To August 14, 1988 Treasures from Trunks" Dugald Costume Museum Simply Stunning, 200 Years of Dugald, Manitoba Fashion" Through mid November 1988 Cincinnati Art Museum To September 3, 1988 "Birth Symbols" Museum for Textiles "Hollwood and History" Toronto, Ontario Boston Museum of Fine Arts Through June 88 Boston, Mas. To August 14, 1988 **** Europe °Tibetan Rugs" June - September 88 "Ladders of Li fe: Banjara and Gods, Animals, Flowers" U.S.A. Museum fur Volkerkunde Basel, Switzerland "Toiles de Joie" To July 1988 The Baltimore Museum of Art Jean and Allan Berman Textile "Womens' Work: The Subversive Gallery Stitch" To June 26, 1988 The Whitworth Art Gallery University of Manchester "Fans" Manchester, UK The Philadelphia Museum of Art To July 30, 1988 Di rectors Gallery Philadelphia Budaya Indonesia: Indonesian To July 24, 1988 Woven Textiles" Tropenmuseum "American Antique Basketry" Amsterdam, Netherlands Brandywine River Museum To August 21, 1988 Chaddsford, PA To August 28, 1988 41 "Textiles from Thailand" Many exciting textiles have Mus6e de l'Impression sur Etoffes already been located for this Mulhouse, France exhibition. Some of the more To July 31, 1988 interesting ones include fibre artist Celia Brauer's "parochet" 'Vogeldarstellungen auf Textilien" (Torah ark curtain), depicting Abegg-Stiftung Jewish ritual symbols against a Riggisberg, Switzerland backdrop of the mountain landscape To October 30, 1988 of British Columbia, and a "chuppah" (wedding canopy) c. 1864, **** of illuminated gold leaf on Chinese silk, made by the women congregants "A COAT OF MANY COLOURS" is a major of Temple Emanu-el in Victoria. We exhibition exploring the rich have also found a hand-embroidered cultural diversity of the Jewish sampler, c. 1771, made by Elizabeth community in Canada. Opening in Judah of Quebec, from the April 1990, the exhibition will be collection of the Gershon and among the first special Rebecca Fenster Gallery of Jewish presentations of the Canadian Art in Tulsa, Oklahoma; a sequinned Museum of Civilization in its new satin Coronation Robe, worn by building. Visitors will see a Rabbi Haft on the occasion of King panorama of Jewish life in Canada, George's Coronation in 1937 (Folk starting with Jewish fur traders Life collection, Provincial Museum and settlers and continuing to the of Alberta); and a tapestry present day. depicting Theodore Herzl, father of Zionism, from the Bezalel Art Working from a uniquely personal School, Jerusalem, and given as a perspective, the exhibiton will bar mitzvah gift from a group of feature videotaped interviews with Christian medical missionaries. the Jewish Canadian donors of many of the exhibition's 300 artifacts. For more information on the The first-person viewpoint will collections being acquired for "A help illuminate both the history of Coat of Many Colours" projects the objects and the variegated contact: Sandra Morton Weizman, character of Canada's Jewish Associate Curator, "A Coat of Many community. To broaden its Colours" project, Canadian Centre multifaceted outlook, the for Folk Culture Studies, Canadian exhibition will also employ music, Museum of Civilization, Ottawa, crafts, and contemporary works of Ontario, KlA OMB. (819) 997-8189. art depicting the lives of Jews in Canada. A primary focus of the exhibition will be the vital cultural interchange at the heart of Canadian society - the many ways the Jewish community has helped shape the Canadian nation, and how in turn the Canadian environment has influenced Jewish life. 42 MCCORD MUSEUM OF CANAD IAN HISTORY Ivalu: Traditions of Inuit Clothing April 20, 1988 - January 10, 1989 The McCord Museum of Canadian History is proud to present a world premiere, a major exhibition of international scope which celebrates the 4,000 year traditions that produced the clothing needed for survival in the Canadian Arctic. Ivalu: Traditions of Inuit-CToERTng was officially inaugurated by the Right Honourable Jeanne Sauv6, Governor General of Canada, and opened to the public on April 20, for a 10 month period. Senator Willie Adams f rom the Northwest Terri tori es and Sarollie Weetaluktuk, President of the Kativik School Board, will also be present. The Museum has received the full support and active participation of Inuit organizations for this important project. Ivalu, in the Inuit language (ITimETi-tut), means sinew. Inuit use it to sew their clothing and to make cordage for drawstrings and tool lashings. This exhibition will feature over 200 artifacts which document the prehistoric evidence of tailored skin clothing in the Canadian Arctic, outline its technical, artistic and social importance to Canadian historic Inuit, and indicate its continued relevancy in contemporary Canadian Inuit society. It is the first comprehensive exhibition which brings together clothing and tools of manufacture from prehistoric times to the present. Visitors will be introduced to the complete process of Inuit clothing construction, from the hunt through 11 an- , :t .1. .... ··..iii rn. 1 .i:,i .i. F..k,i,1„. in,id: the use of ingenious tools and i.,ini, h •.5 ···1: ,. 1:•,-I ..p i.-ifi fi .1„1/, :h; irii¥m;,f techniques, to the artistry and C.,P,„4„,:. symbolism of the completed garment. 43 Mrs. Betty Issenman, guest CONFERENCES, COURSES, SEMINARS curator, and Mrs. Catherine Rankin, associate curator for Ivalu, are July 7-11, 1988, Chicago, IL. experts in the area of Inuit Convergence '88, Scholar's Refereed clothing and artifacts. Their Research Seminar. Four papers will extensive knowledge of Inult be presented by textile scholars on culture and many years of research subjects of original research in the preparation of this relative to the history, theory, exhibition will contribute to a practice and development of textile better understanding of the Inuit knowledge which have not been and their way of life. This previously published or presented. knowledge will be documented in a Contact Prof. Naomi Whiting Towner, fully illustrated 100 page Department of Art, Illinois State catalogue of the exhibition which University, Normal, IL 61761-6901. will be available at the Boutique McCord. July 11-15, 1988, Manhattan, KS. Experimental Textiles: Textile In conjunction with the Conservation. Contact Dr. Mary Don exhibition, the Centre for Northern Peterson, Department of Clothing, Studies of McGill University, Textiles and Interior Design, co-directed by Dr. Marianne Justin Hall, Kansas State Stenbaek, has sponsored an University, Manhattan, KS 66506, international Inuit Clothing (913) 532-6993. Conference May 5-7, 1988. (See Conference Repon) November 3-4, 1988, Washington, DC. Harpers Ferry Regional Textile Most of the artifacts which are Group Conference - 20th Century presented have been selected from Materials, Testing and Textile the McCord collections. Other Conservation. Contact Katherine artifacts include loans from major Dirks, Division of Textiles, Canadian and international National Museum of American institutions such as the Canadian History, Room 4131, Smithsonian Museum of Civilization, Ottawa, the Institution, Washington, DC 20560, Musee de la civilisation, Qu6bec, (202) 357-1889. the Groenlands Landsmuseum in Nuuk, and the University Museum, Philadelphia, U.S.A. Several special events are planned to familiarize the visitors with Inuit culture, such as Inuit skin clothing sewing and beadwork demonstrations. Information: Marie-Claire Morin Director of Development and Communications (514) 398-7100 44 Courses HEALTH AND SAFETY Dye Analysis. Dr. Schweppe came in Arsenic Found in Historic Textiles early November of 1987 and taught a very successful course on the Textile conservators and other dyeing and dye analysis of early handlers of deteriorating fabrics synthetic dyes (Reported in the often report that dust associated last issue of the Newsletter). He with these materials may contain will be returning 'October 3-7, 1988 hazardous substances including mold to teach the dyeing and dye and mildew spores, irritating fiber analysis of natural dyes. particles, pesticides and more. A recent analysis indicates that at Dye Workshop. A pilot dye workshop least one type of fabric dust may was run in April, 1988 for textile also contain arsenic. conservators interested in dyeing wool, silk, cotton, and polyester Univeristy of Wisconsin support fabrics and threads for researcher, Merrill Horswill, found conservation work. There were significant amounts of arsenic (in short "lecturettes" on laboratory the range of .2 percent) in 30 safety, toxicity, dye formulae, dye weighted silk costumes made between chemistry, and suppliers and 1850 and 1930. Ms. Horsw111 is a industry standards. Participants PhD candidate and Project Director dyed up mono, di-, and trichromatic for a Stella Blum Research Grant swatches and traded them, along sponsored by the Costume Society of with the recipes. Another Workshop America. Her project was designed will be held after the Harpers to find antioxidants to retard the Ferry conference. The course fee aging of textiles and the arsenic is $75. (includes lunch) for the findings were unexpected. four days. There is also planning for another spring, 1989 Workshop, Ms. Horswill is now attempting to probably to coincide with the determine whether the arsenic is annual Cherry Blossom festival and present as the result of pest nice weather (early April, 1989). control treatment, application of arsenic-containing silk weighting Pest Control in Museums. A one day chemicals or some other source. semlnar 15 tentatively scheduled for Wednesday, November 2, 1988 Although arsenic's hazards are (the day before Harpers Ferry) with well known, a new toxicological Dr. Gary Alpert as the speaker on profile for arsenic is being issued textile pests, life cycles of these by the U.S. Public Health Service. pests, current caveats (like It succinctly characterizes toxicity), and remedlal measures. arsenic's systemic toxicity and The course fee will be somewhere potential for causing cancer between $25. and $40. (includes especially in the liver, bladder, catered luncheon). kidney, and lung. It also notes that skin contact with inorganic Please include full payment arsenic also can cause a number of (payable to SmiTisonian skin abnormalities which may Institution) and a brief resume increase the risk of skin cancer. with this application. The presence of arsenic in Send to: weighted silk points up the general Course Coordinator need to prevent exposure to all CAL/MSC textile dusts. Some suitable Smithsonian Institution precautions include wearing light Washington, D.C. 20560 U.S.A. 45 rubber or plastic gloves, good TEXTILE CONSERVATION AND RESEARCH personal hygiene, use of protective Includes a technical/scientific lab coats or smocks (and hair catalogue and a chapter about covering if necessary), isolation training textile restorers. of the work from eating and living 530 pages, 350 color plates, 452 areas, and working in specially black-and-white illustrations, 176 ventilated areas or wearing drawings, linen-bound. It will be respiratory protection. Ideally, available in English or German. work on deteriorating SFr. 245,- arsenic-containing fabrics should be done in fume hoods or similar local exhaust systems. Monona Rossol For further information contact: Merrill Horswill at (608) 756-0235. TABLE OF CONTENTS or Monona Rossol, ACTS, (212) 777-0062. 1. METHODS OF TEXTILES CONSERVATION 1. PRF.LIMINARY F.XAMINAT'ION AND DOCUMENTATION 2. CLEANING NEW PUBLICATIONS Wet cleaning Straightening fabrics This book, TEXTILE CONSERVATION AND Wet compress RESEARCH is the VII. volume in the Dimp dabbing -serle "Schri ften der (Nild sicaming Dry cleaning Abegg-Stiftung". The author shares Blnching her thirty years of work with ancient textiles. Mechthild 1 CONSERVATION WITH NEEDLE AND Flury-Lemberg, who has been in THRRAD charge of the Abegg Foundation's Choice of materials for suppor[ fabrics Textile Department since 1967, is a Prior treatment of support fabrics textile restorer and arthistorian - Dycing support fabrics Choice of sewing material a combination which makes this Sewing techniques account of her experience a Types of stitchcs valuable reference work for anyone involved with old textiles. 4. CONSERVATION UNDF.R GLASS 5. 1.XPFRIENCF. WITH CONSERVATION An introductory text setting out USING PLASTICS the scientifically based methods of textile conservation is followed by 6. STORAGE AND DISPLAY reports of the restoration of Storage of fabrics specific textiles. The more than Suppom for displaying garments one hundred examples range from the Storage of textile relies restoration of an Egyptian child's tunic through the reconstruction of 11. F.XAMPLFS OF CONSERVATION WORK an Etruscan linen book to a 1. TAPF.STRIES description of textile finds from a Four upestrics illustnting th legend of Venetian shipwreck. They provide St. Vincent detailed and fascinating insights Burgundian armorial tapatry into the adventure of textile Milk-fleun upestry of Philip the Good research, even for non Traian·Herkinbald taptirry Founh Caesar rapestry in Berne specialists. 46 2. FLAGS 7. WATER FINDS Julius bnner of Saancrn Prehistoric fishing net from Lake Constance Flag of a Swiss regiment in the service of Textiles found in a wrecked Venctian ship Venice Flag of the „Gesclitchft zu Pfistern" 8. TEXTILES PRINTS Part of a lectern cover from innichern 3. EMBROIDERY The Grandson anrependium 9. PROBLEMS OF RECONSTRUCnON Two dossals from St. Fnncis in Assisi Cope with the tree of Jesse 10. RECONSTRUCTION OF AN ETRUSCAN Amependium with Passkon scenes in Toutouse LlNEN BOOK Anrependium with the Madonna on Salomon's throne Liber Lintcus Zagrabiensis Cope with coats of arms of Ariois and Burgundy in Gruy/res 11. RECONSTRUCTION OF ANTIQUE WALL HANGINGS Hangings of a state bed Embroidery frame with unfinished embroidery Artemis tapcstry , Diopyaos tapestry with silk fragmencs ' 4. LITURGICAL AND SECULAR GARMF.NTS Fngment with kithan player from a Dionysos Vitalis chasuble from St. Peter's, Salzburg hknging Bell-shaped chasuble of St. Ladislaus of Hungary Tapestry with Dionysim scenes in Hitdaheim Albof St. Bemulfof Utrecht Tapestry with Moon ' Chasuble of Bishop Bernhard of Hildesheim Coptic tapestry, Asccnsion of Eliiah Cope with floral pattern in Berne Coptic upestry. Mans onns Linen clusuble from St. Godehard in Hildesheim Tacestrv with winged horia Mercenary's uniform of Andreas Wild of 12. RECONSTRUCTION OF PATTERNS , Wynigen Han silk in Palmyn 5. BURIAL FINDS Silk fabric with scenes of the Nile Silk finds from Antinoe Fabrics from the royal tomb in Vergina Silk fabrics from Pers B Child's tunic from Egypt in The Hague Italian silk brocade Burial chasuble of Bishop Nikolaus Schiner of Dalmatic with pelicans Sion Brocade cape of Sigismondo Pindolfo Malatesti Liturgial gloves from the grave of Bishop in Rimini Nikolaus Schiner Brocaded velvet cloak in ferne Glove from the burial vestmepts of Archbishop Burgundian chasuble in Einsiedcln Rodrigo Ximenez de Rada Buml mitre of St. Amadcus in Lausanne 13. RECONSTRUCTION OF GARMF.NTS Pontifical shoes from Lausanne Cathedral Ulrich chasuble in St Urban . Rmbroidered burial stole in Lausanne' Burid find frum S[. Stephen in kuk Doublet and belt of Sigismondo Pandolfo Malatesta in Rimini Doublet of Count Fricdrich von Stubenterg in Graz Child's hairnet from ihe tombs of thc Counts of Stubcnberg 111. TECHNICAL CATALOGUE Burial vestmenis of Hans von Kaunitz Burial chasuble from St. Stephen in Jaun IV. TRAINING OF TEXTILE RESTORERS 6. TEXTILLF. RF.LiCS Relic covers from the Licbfrauenkirche of Valeria Abbreviated bibliographical references in Sion Photo and drawing credits Two relic pouches from St. Michael in Index of places, names and subiect matter Bcromlinster Relies of the miraculous Cruci from Belfauz Parish Church Girdle relic in SE. Peter's, Salzburg Rcliquary cupboard with Mary's dress from the Liebfrauenkirche, Trier Fabrics frum the altar grave of St. Anthony of Padua Gui of St. Francis of Assisi Mary's veil from St. Francis in Assisi Two veils from the Stro Convento in Assist Chasubles if St. Ulnch in St Urban and Luthcm 47 Library of Congress Produces handling. Please make checks Directory to Quilt Collections in payable to the American Folklife the U.S. and Canada Center. Book stores should address inquiries to the publisher, The Library of Congress, in Acropolis Books Ltd., 2400 17th cooperation with Acropolis Books St., N.W., Washington, DC Ltd., of Washington, D.C., has just 20009-9964, or call (202) 387-6805. published a major guide to guilt collections. The 255-page The guilt collections directory illustrated publication, "Quilt has been made available through the Collections: A Di rectory for the Elizabeth Hamer Kegan Funds a United States and Canadau, lists revolving fund designed to support collections as well as the center's publishing activities documentation - manuscripts, and its presentation of folklife photographs, and recordings - held materials in the Library's sales by museums, archives, and other shop. public institutions. Organized by country, state, and mrmI.c7BLE alphabetically by institution, the entries provide detailed Conservator, Textiles information on 747 collections, as Glenbow Museum well as providing addresses and Calgary, Albena visiting hours. The directory is based on a We require an experienced questionnaire survey conducted by professional to work in the textile the American Folklife Center of the section of our conservation Library of Congress, and was department. Under the supervision compiled by Lisa Turner Oshins, of the Chief Conservator the quiltmaker and program specialist successful applicant will be at the center. Ms. Oshins, who responsible for all aspects of worked on the project over a period conservation for the Museum's of three years, has a master's textile collections. degree in art history from George Responsibilities include, planning Washington University in and scheduling remedial treatments Washington, D.C. as well as monitoring and making The directory is illustrated with recommendations regarding storage, 16 color plates and numerous handling, exhibition (including historic black-and-white packing and transportation), and photographs from the Library's environmental requirements. collections. The publication includes an index of participating Requires successful completion of institutions, a selected a masters program or equivelant and bibliography, the questionnaire five years of directly related form used in the survey, a experience. Ability to work glossary, a section on guilt effectively with others if conservation, a selected necessary. filmography, a list of statewide and regional guilt documentation Salary range: $23,619-$31,607 projects, and a directory of major (1987-88 rates) guilt organizations. Please forward your application and Copies of the directory may be resume to: ordered from the American Folklife Fred Greene Center, the Library of Congress, Chief Conservator Washington, DC 20540, for $18.95 The Glenbow Museum in softcover, $24.95 in hardcover. 130 - 9 Avenue S.E. Add $2 per order for postage and Calgary, Alberta T26 OP3 48 Back issues of Textile We welcome submissions on: Conservation Newsletter are available for $3.50 per issue Textile Conservation including postage and handling. History Technology The Textile Conservation Analysis Newsletter is published twice a and information on upcoming year in the spring and fall. A courses, conferences and two year subscription is $26.00. exhibitions. Deadlines for 1988/89 are: 31 October TCN 30 Ap ri 1 Editors Submissions and correspondence Eva Burnham should be addressed to: Ruth Mills Gail Sundstrom-Niinimaa Eva Burnham/Ruth Mills Eastern Editors Treasurer Textile Conservation Newsletter P.O. Box 4811, Station E Membership Ottawa, Ontario Eva Kaczkowski Canada Kl S 5J1 DISCLAIMER or: Articles in the Textile Gail Sundstrom-Niinimaa Conservation Newsletter are not Western Editor intended as complete treatments 25 Cathedral Rd., N.W. of the subjects but rather notes Calgary, Alberta published for the purpose of Canada T2M 4K4 general interest. Affiliation with the Textile Conservation Newsletter does not imply professional endorsement. TEXTILE CONSERVATION NEWSLETTER SUBSCRIPTION SURNAME, Given Name (please print) Mailing Address: Date: Signature: Please make cheque or money order for $26.00 (Canadian) payable to: "Textile Conservation Newsletter". For out of Canada subscribers, money order or bank draft. Mail to TCN, PO Box 4811, Station E, Ottawa, Ontario, Canada KlS 5J1.