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The subject is a to neutralize the material - doll, with china head, human the undergarments were ph4, and hair and a wonderfully jointed it was assumed that the outer kid body stuffed with sawdust. fabrics would also be low. 2) She is clothed in white cotton There was some concern that the undergarments, all exquisitely coloured spots were more than constructed - bloomers, innocuous dirt, but active chemise, a bustle, two sources of degradation. petticoats ; kni tted stockings and leather shoes; a trained The laundering (.2% sodium skirt and fitted bodice of lauryl sulphate .005% carboxy cream coloured cotton and silk methyl cellulose) was a success , satin. - nothing shrank, nothing stained and judicious blocking, The cotton undergarments were and later steaming and tacking very badly burned/stained by iron returned the sheen to the the acid inherent in the satin. The degraded satin was sawdust and kid. These were then covered with silk washed to neutralize. A crepeline, couched in place buffering layer has been with hair silk. This work is considered to place between the now almost complete, and has kid and the clothing, but no provided the major challenge - decision has been made. There continuing to perform slow, are two concerns 1) the outer painstaking work, day after clothing is very tight, so any boring day. added bulk will place unwanted stress on the fastenings and 2) And the worst of it was to what to use - there is a large find recently that the work was acid reservoir in the sawdust, not that of an enterprizing and the kid is happy as it is. dressmaker of the 1880's or even of a doting turn-of-the- The outer garments are badly century grandmother, but was a deteriorated. The satin of the centennial project. Old fabric bodice and parts of the skirt was used, but all the exquisite has lost almost all its silk garments were made in 1958. weft. On the skirt there are Ethical standards not numerous rust-coloured spots withstanding an artifact from which in many instances are the 1958 just strikes a different centre of degradation. Despite chord that one from 1888. I'm the complicated construction of having trouble looking that the outer garments interlining doll in the face. 2 This term I am taking two If anyone else has conducted weaving classes through the such a survey, had any problems University of Victoria (I call with dry cleaners, has a cousin them "professional in the business in Victoria, development," the B.C. had anything to saly on the Government calls them topic, please write to: entertainment). Colleen Wilson Cheryl Samuels is teachina Conservation Division "geometric weaving." This Ts B.C. Provincial Museum the name for the type of robe 675 Belleville Street that appears to have preceded Victoria, B.C. VBV 1X4 Chilkat weaving. Many of the techniques are more akin to ICOM Textile Group basketry, although the twining is worked on free-hanging warps Two staff members and a as in Chilkat weaving. graduate student presented Geometric robes went out of papers or poster sessions at production some 200 years ago the Textiles Section of the and only fourteen are known, so International Council of I don't anticipate applying my Museums Committee for new analytic skills very soon. Conservation in Copenhagen, Ms. Samuels has written on the Denmark in September. subject, but the material has not yet been published. The presentations were: The other course is a survey Fire Retardant Finishes for of Canadian weaving traditions, Fiber Art: A Conservation taught by Karen Selk. Each Perspective. Prel iminary week a different technique has Findings - Doreen Rockliff and been explored - pile weaving, Nancy Kerr Boutonnd, Salish twining, ceintures flichees. Now I Physical Changes of really wish the "Comfortable Alkaline-Buffered Cotton Fabric Arts" show would come back. Nancy Kerr, Solomon P. Hersh and Paul A. Tucker Enclosed is a draft of a questionaire for dry cleaners Non-Woven Textiles for upon which I invite your Conservation Use - Elizabeth A. comments. We are frequently Richards asked to recommend a cleaner in Victoria, but not knowing what The papers will be available in they have, or are willing to the printed proceedings of the offer, a survey seemed in Conference. order. If the results are reasonable, the questionaire will form the basis of an article for the B.C. Museums' Association outlining what dry cleaning does, and what questions to ask. 3 AN EXPERIMENTAL MANNEQUIN FOR THE DISPLAY OF HEAVY GARMENTS By Susan Roote and Frances Mitchell One of the special features Next, the armour was of the Museum of Anthropology carefully removed from its at the University of British original support, which we Columbia is its visible storage found was constructed of wooden system, in which the great two-by-fours and plywood, majority of the Ethnological padded with 1944 newspapers and collection is stored in cases covered in blue velvet. Again and Plexiglas-topped drawers. careful measurements were .taken The majority of our textiles of the inside of the armour as are not stored in this system the lacquer was 0.7 cm thick. because of their sensitivity to Using the adjustable metal light. However, on disply in skeleton as described in the some of these cases are heavy article "An Experimental suits of armour that require Mannequin for the Display of mannequins stur* enough to Garments" by Leonard McFarlane properly support them. In the and Elizabeth Johnson, which museum collection are examples appeared in the #78 issue of of an Arabic chain mail shirt, Museum Roundup, Spring 1980, a two suits of Japanese Samurai mannequin was constructed to armour and a coconut fibre suit support the Japanese Samurai of armour from the Gilbert armour. Islands. The Skeleton was adjusted to Our project was to design a the proper proportions. mannequin that would be Beginning at the base, the feet innexpensive and sturdy enough were carved out of styrofoam to support and display a suit and covered in washed black of Japanese Samurai armour. cotton jersey. A polyester This armour was constructed of furnace filter medium was used bands of lacquer laced together for the padding to give human with silk cords to form a shape to body, legs and arms. flexible unit. There were This polyester medium is 1.5 cm bronze hinges in the shape of thick, and is firm, and butterflies and parts which pliable. The polyester was cut were padded and embroi dered. into long strips which were It was collected in 1900 and wrapped and sewn around the given to the museum in 1955 by metal skeleton. The legs were the Consul of Japan. encased in black nylons and covered in washed black cotton Initially, photographs were jersey. The arms and shoulders taken of the armour on its required more stiffness so original mount, taking special polyester-stuffed cardboard notice of how it was assembled tubes were used and padded. and the knotting of the silk cords. Careful measurements It was discovered while were taken, which included working with this furnace height, width of shoulders, filter medium, which the waist length of legs and supplier had stated was pure location of waist. 4 polyester, that a salt residue wood stock head, covered in was left on the hands. On washed cotton black jersey was further investigation the mounted on the neck of the supplier revealed that the skeleton. The helmet was then medium was treated with fire put on and the Japanese Samural retardant. As this might react armour was ready for display. with the artifact, other thick polyester mediums were Using the adjustable metal researched to obtain a frame, polyester filter mediums resiliant, inert and recycled cotton T shirts, inexpensive material. Two stockings and black cotton samples were presented for jersey, the project of consideration by the designing and constructing a conservator and'design staff. mannequin for the support and One was treated with acrylic display of heavy garments glue which made it more proved effective and resilient and would have been inexpensive. best for our purposes. The second sample was softer, pure The same method was used for polyester. It was decided that a heavy Arabic chain mail shirt it would be best to use the and for a rare and complex suit . pure polyester medium until of Gilbert Islands armour, research was done on the which includes a short shirt composition of the acrylic with long sleeves, overalls and glue. In the case of the a Stringray breast plate. constructed mannequins it was decided to put a barrier of Susan Roote polyethylene sheeting between Frances Mitchell the furnace filter medium and U.B.C. Museum of Anthropology the cotton jersey covering. Volunteer Associates The mannequin was dressed in Reference: two washed cotton T shirts to give it a smooth shape. Then H. Russel Robinson F.S.A. using, "A Short History of A Short History of Japanese Japanese Armour." by H. Russel Armour. Robinson F.S.A. as a reference Ministry of Public Building and for the clothing of samurai Works warriors, the mannequin was London: Her Majesty's dressed in a black cotton Stationery Office 1965 jersey kimono and black Japanese pants. The mannequin was now ready to be dressed in the armour. Guided by the photographs taken at the beginning of the project, the shin pads and leg armour were put on first, then the top and the cords tied with the knots as before. A solid -5- 1/2" Plastic " - ShoulderApprox. 10" Long Caps -0-50 0=0 1/2" Tri-Clamps Body, Approx 30"Long 4-- 4-2 - YX Approx. 8"Hip Pieces Long DEJ ' ju All Tubing --- 1/2" O.D. Legs, Approx. 36" Long Nickel Plated Foot Plates (1/2") 0 \J 1 Wooden Base NOTE: 140 x 14" x 14" Not Drawn To Scale L.T. McFarlane Museum of Anthropology University of British Columbia 6 textiles, such as rugs, were GLENBOW MUSEUM stored on wooden triangle support units. Lana Poffenroth, a University of Alberta Clothing and Textile student, returned to the Conservation Department for her second summer under a program funded by the Federal Government. Gail Sundstrom Niinimaa and Lana Poffenroth presented a Mannequin Making Workshop in Medicine Hat in conjunction with the display Acid free matboard booklets that the Medicine Hat Museum were recently made for some organlzed on Women's Costumes. fragile Peruvian textiles. The Twenty people participated, and booklets were constructed from 10 mannequins were made in the examples made at the C.C.I. by 2-day session. Colleen Martha Segal an-d Jan Vuori for Wilson's "Body Building" method fragile archaeological was used for the mannequin textiles. One difference with B construction. the ones constructed at Glenbow was that fibrefill was not used A storage grid system for to cushion the textile, rather rolled textiles was developed a piece of washed cotton jersey at Glenbow for the Cultural provided enough cushion and History department. Four inch friction for the textile. wire grid used for pouring cement was used as the basic t¥tile support system .Anatte board cotton -- all[JI matte board hinging tape 3M 950 double sided tape was used to attach the fabric to the matboard, and an acid free. A wooden frame was made for hinging tape was used to hinge each side out of 2x4 lumber. the boards together. A piece This unit was suspended from of twill tape was used to hold the ceiling with wire and eye the booklet together. hooks. Each dowel which rested on the grid system had a notch Refurbishment to the 3rd and cut out of both ends to prevent 4th floor permanent galleries unnecessary rolling movement. was begun in April through a Washed cotton muslin was Canada Works Grant. Four covered with polyethylene and people have been hired to do placed on the outside of each the changes which include basic unit to minimize the potential cleaning in addition to for dust leaks and light relocating exhibits from the damage. Large rolled "Great CPR Exposition" and the "Canadian Cowboy". 7 May Jarratt, a member of the ROYAL ONTARIO MUSEUM R.O.M.'s volunteer committee continues to work in our CONSERVATION DEPARTMENT Laboratory one day per week. In August we completed the Isabella Krasuski attended mounting for display of eleven the Harped's Ferry Seventh Coptic and Islamic textile Textile Symposium in fragments for the gallery Washington, D.C., Nov. 1-2, rotation in the Mediterranean 1984. World. Isabella Krasuski We were very busy during the last few months in 1984 preparing an exhibition of TEXTILE DEPARTMENT Canadian quilts now on view in the Canadiana Building. The Doukhobor Textile Research exhibit has been a big success. Sometimes researchers have to travel to places like the upper We were also working reaches of the Amazon to study . feverishly to prepare an and record material unaffected exhibit of ecclesiastical by the modern world. I found vestments which opened on such an area for textile December 7, 1984. research right in the heart of western Canada. We are now involved in the preparation of a permanent A few years ago I became exhibit in the Canadiana aware of the strange and Gallery, which w·ill include interesting textiles made by reproduction dresses and dolls. the Russian Doukhobor people. We are working on the They came to Canada from the reproduction of two whole Caucasus in 1899, settling dolls, one is all knitted, and first in Saskatchewan and then the other is all of fabric. spreading on to British Columbia. In the early days Cara Reeves, after eight they lived communally and months of internship from Sir almost completely separately Sanford Flemming College in from the other pioneers around Peterborough has been hired on them. What excited me most was a one-year contract as that they wove pile rugs like conservation technician to work oriental rugs, only brighter on objects for the new and bolder. The people who galleries. made these special things were not getting any younger and it Vivien Jenkins from the was evident that if first hand Ontario College of Art is information was to be gathered taking an eight-month credit it had to be done soon. course in textile conservation at the R.O.M.'s Textile Conservation Lab. 8 I applied to the Canada designs and colour are to say Council, a move that is the the least exciting. My age, start of many an interesting middle seventies, turned out to research project in Canada. I be a most unexpected advantage. received Explorations Grants There was no generation gap for travel for the summers of between me and my informants 1983 and 1984 and set off to and I have ended up with the explore. most delightful collection of new old friends. I started without two essential ingredients for rural Dorothy K. Burnham research among people who do not all speak English: because of eye trouble I no longer drive a car and I definitely do not speak Russian. Looking back on it I know I was crazy but sometimes there are special angels who look after crazy people. My guardian angels were the staff of the Doukhobor Village Museum in Castlegar B.C. who provided me with transportation and translation, made contacts for me in their own area and passed me on to friends in other areas. My intention was simply to record so that the information that elderly people could give would not be lost. It was to be a simple case of rescue ethnology. I soon found that with. all the hospitality and help I was offered and that I gladly accepted I was aw4y out on a limb. Everyone I interviewed was convinced that I was writing a book ... and so it is the least that I can do. The research has been an incredibly rich experience. The textile methods have turned out to vary considerably from those of other ethnic groups. The quality of the spinning and weaving is superb and the 9 Due to the extremely fragile CANADIAN CONSERVATION nature of the lining, each INSTITUTE panel was washed in a large sink supported by a sheet of SIR ISSAC BROCK'S MILITARY Corex. Another piece of Corex COAT was placed over the top, sandwiching the panel in order Treatment was completed on to flip over the piece and wash Sir Issac Brock's, the reverse side. The lining Brigidier-General's tunic of was then laid out on the glass 1812 from the 49th Regiment. table and the mylar drawings The scarlet wool swallow-tail were taped to the underside of tunic has navy wool facings, the table to provide an white wool collar and cuffs accurate pattern to follow when with white wool turnbacks. It re-aligning the badly tangled is embroidered with gilded warp and weft threads. Each silver thread with an epaulette thread was then carefully on either shoulder. aligned. The coat itself was in stable Each piece of lining was condition but the linings of treated in a similar manner. both the sleeves and the body Backing fabrics were dyed to of the tunic were extremely match the linings. The panels deteriorated. The lining were underlaid with a prepared panels in the body of the coat support fabric. Further were made of silk warp and wool re-alignment of the loose warp weft while the sleeve linings and weft threads were done were silk. Large areas of the followed by extensive couching silk warp had completely with hair silk. When the .disintegrated resulting in couching was completed, the large areas of loss, tangled panels were replaced in their weft threads and shredded former positions and re-sewn fabric overall. along the original stitch lines. A treatment was impossible unless the badly damaged Chris Paulocik linings were removed. Once this decision had been made, mylar overlays of each lining BACKING RESEARCH PROJECT panel were carefully drawn and measured to mark the exact Ela Keyserlingk shape and size and indicate lines of stitching. This step Definition of Project was taken to facilitate the replacement of the panels later Canadian Conservation on in the treatment. It was Institute's Textile Division in also necessary because large conjunction with the portions of the panels had only Institute's Environment and badly tangled weft threads with Deterioration Research Division very little remaining warps in has initiated the above project certain areas, so that these to identify and test suitable r16'lar patterns served as support materials for the guidelines. backing of historic silk textiles. 10 Background The backing systems most often chosen for deteriorated Backing fabrics impart silk employ sewing techniques structural stability to using backing materials such as degraded historic textiles. cr@peline, tulle, silk, cotton, The conservator must be able to cotton-polyester, polyester or select a backing system that is Stabiltex. Silk, Stabiltex and appropriate. Synthetic fabrics cripeline are also used in are preferred by those conjunction with adhesive conservators who believe that backing systems. long-term, stable support of an object is the most important Objectives function of a backing system. Other conservators use Our aim would be to "sympathetic" fibers in the understand: belief that drape, handling and visual properties of historic 1. the mechanical behaviour of textiles are best maintained by textile backing systems in using the same or similar fl uctuating -environmental natural fibers and consider conditions, long-term stability of backing 2. the nature of stress , fabrics to be of secondary developments, importance. 3. the interaction of different backing layers with each Establishing the Parameters other, and 4. the long-term effect of Backing as a treatment backing systems and procedure can be applied to a materials on the historic large variety of texti les, each textile. with a unique set of problems and characteristics. To test An appropriate testing for all possibilities would programme will be set up by the require a vast amount of time. Textile Division in Therefore it was thought co-operation with technical advisable to first test advisor Stefan Micalski of the widely-used backing systems Environmental and Deterioration preferred by conservators Research Division. He will without scientific support confirm which testing data. Such backing systems procedures are required and have been checked through Textile Division will carry out literature searches and the tests. He will also advise personal contacts. the Textile Division on evaluation and interpretation The most frequent backing of results. problems in textile conservation arise in the First Testing Phase matter of deteriorated silk. Therefore it is suggested that The first testing phase has testing start in this area. been started and we hope to -- 11 achieve the following two have to be tested but the goals: artificially aged silk will provide the bulk of the 1. Development of a standard samples. Next, each component artificially-aged silk that of the most common backing can then be produced in a systems will be studied by large quantity for tests developed under Phase comparative testing of One. Through this, the backing systems. individual mechanical behaviour of selected backing materials 2. Familiarization and will be established. Then the evaluation of mechanical deteriorated silk and its test procedures, primarily various backing materials will uniaxial tensile testing. be tested together. This will reveal how the different Procedures backing layers interact mechanically w'Ith each other. Degraded historic silk Initially, such combinations samples will be tensile-tested will be tested -uniaxially in to establish typical small samples. Later full stress/strain behaviour and scale backing/silk combinations * breaking points. These will be will be measured for biaxial used as reference values for phenomena such as necking, the artificially-aged silk. creep under a hanging's own weight and other distortions. Newly manufactured silk samples are being aged by exposure to 30 W germicidal A METHOD FOR PUTTING CRfPELINE lamps. These are rich in U.V. ONTO MATS Samples are regularly tensile-tested to determine the JAN VUORI rate of degradation until the C.C.I. predetermined average breaking point is reached under normal Archaeological textile (40%-50%) RH conditions. fragments are often mounted for Further samples will be study and display purposes by subjected to creep tests under stitching onto a piece of normal RH conditions. Tests crepeline (silk or polyester) and test results will be or by stitching between 2 continuously evaluated. If pieces of cr@peline held taut time permits tensile and creep in a mat of acid-free card. tests will be repeated at 10% and 80% RH; and on individual The following brief note fibres and yarn. describes a method whereby cripeline may be attached to a Future Testing Phases and mat quickly, easily and with Results uniform tension. The method also enables cr@peline to be Both naturally and put onto a mat on the bias. artificially aged silk will This makes it possible to 12 eliminate the visually Step 3 disturbing moir@ effect which is created when 2 pieces of Stretch one edge of the cr@peline with parallel warp cr@peline, preferably a and weft are superimposed. sel vage if one is present, When a piece of cr6peline on along the length of the mat the bias is superimposed on a approximately 2 to 2 inches piece of cr@peline with the beyond the mat. Place a warp and weft running straight, piece of masking tape at each the moir@ effect does not end to hold the edge taut. occur. In all steps the crepeline should be taut but not Not including the time excessively so lest it warp requi red to wash and dry the the mat. crepeline, a mat may be prepared in 4 hour - twenty 4- Um, e -* minutes of which is the drying +er-r- time of the adhesive. 1=1=-- Step 1 Place the mat face down on a clean table top or on a seet of glass with a grid pattern beneath. Step 4 Place a piece of masking tape along the entire length of the top edge of crepeline. If the edge is not a selvage, it may be necessary to trim the edge to make it straight. Step 2 Cut a piece of prewashed crBpeline approximately 2 -I-1 inches greater than the mat III= on all sides. fFIF 13 Step 5 Step 7 Repeat steps 3 and 4 along Repeat step 6 on remaining the opposite edge ensuring untaped edge. that the warp and weft of the cr6peline are straight. , j:111-1=- 4-MI ' . 4- Ritttl=tz -1 1 1= 4 1 1 *- 5 e-> Step 8 Paint a P.V.A. emulsion, Step 6 slightly thinned with water to prevent hard lumps from Place a single piece of forming on the mat board, masking tape along one of the along all 4 edges of the mat. remaining untaped edges. Leave bare a 4 inch margin on Press it down firmly where it the outer edges - let dry 20 covers the cripeline but not minutes. where it comes in contact with the table top. This 77-7-77777777,77777777777 allows the entire edge of cr@peline to be lifted and k moved as a unit to stretch it taut. 7 lt,Dit#laaililli %% 9 44£11:3-+ 7777777-1-7-77,77777-7=/:722 14 Step 9 Using a scalpel or sharp blade, slice through the cr6peline along the adhesive free margin. The cut should not penetrate through the mat board. The cr@peline covered mat is complete and the scraps of cr@peline may be unravelled and used for stitching. I / '1 1 2 I , : e 1. 1/Z.-7--3 Step 10 In order to eliminate the disturbing moird effect which occurs when 2 layers of crepeline are superimposed, one layer is put on the mat on the bias. To do this, place the first mat prepared as above (i.e. the warp and weft of the crepeline running parallet to the mat) beneath a sheet of glass. Place the second mat face down on the glass in line with the mat beneath. Repeat steps 2-9 aligning the cr@peline at 46' to the edge of the top mat. '342 --=I- 15 finishes/starches etc, CENTRE DE CONSERVATION DU especially those originating QUEBEC from the supporting fabric, of Sharon Little the embroidered ground fabric, which was fabricated of linen. Visit of Pope Jean-Paul 11 This unsightly water stain was greatly reduced by restoring Exhibition "Le Grand Hiritage much of the pile fibres to MusBe du Quebec. their original upright position, by the use of In preparation for the visit continuous brushing, with a of Pope Jean-Paul 11, to the medium-stiff (natural bristle) Musle du Quibec, September brush, after several 1984, several ecclesiastical applications of a very fine, textiles, from various warm, "dry", steam. religious institutions, received conservation A semi-precious stone, which treatment. Unfortunately as had previously occupied an the available time period for area of prime visual conservation treatment was importance, about the central limited to 2.5 months, the medallion of the parement, was nature of the treatment was of missing and was replaced with a mainly "cosmetic" nature. a new stone, cut and mounted b* Certain aspects of some of the a local lapidary, "Swissor Inc. treatments, for a few of these (address re: supply sources). textiles, are outlined as Both the cutting and mounting follows: designs were based on the specifications of the many Parement d'autel de la existing stones, embedded in Pentcote, circa 1815-1825: the embroidered appliquis. Two "eye-holes" were fixed to the "Parement du Martyr de Sainte mount of the stone and the Ursule dit le Parement de la ensemble was sewn onto the Pentecote". Mus6e des embroidered appliqui of the Ursulines du Quibec, Quibec. parement d'autel, with cotton thread. Many years ago, the dark red velvet ground fabric of the Parement d'autel - Geometric parement d'autel was damaged circa: end of xvii century, by water, which had beginning of Xvlll century. infiltrated into a storage Mus@e des Ursullnes du Quebec. room. The pile of the velvet had consequently become The loosely woven ground completely flattened, along fabric of this parement d'autel the total width of the bottom was completely covered with e4ge, to a height that geometric motifs, of two basic corresponded to the compositions. The first group infiltrated water level, of motifs were needlepointed approximately 13.Ocm. The with multicoloured wool and pile fibres also appeared to silk yarns, while the second be somewhat adhered, most group consisted of mainly likely from previous fabric white-coloured hollow glass 16 beads, stitched wlth linen Throughout the course of the thread, to the ground fabric. vacuuming treatment, the dust which accumulated in the With the passage of time the cylinder was removed and the parement d'autel had become filtering material (polyester very dusty, to the point fibrefill) replaced. The use whereby the original colours of of this particularly efficient the yarns had become distorted. and quiet vacuum, provided a To further complicate matters, general enhancement in the it was discovered that a light beauty of the parement d'autel, vacuuming was of no avail, as whereby dust/particles etc. the dust while forming a hard gathered in the filtering crust-like covering on the cylinder could be easily surface of the needlepointed retained for documentation stitches, had also become purposes. deeply embedded in the yarns; several of the beads were Two Processional Banners loosely attached, necessitating great caution; access to the Both faces of each banner needlepointed motlfs was were composed of silk fabric, difficult as these motifs lay decorated with elaborate metal between the "raised" headed trims and fringes. The banner motifs. "St-Famille" from the Fabrique Sainte-Famille de Boucherville, Most 'of the dust was circa end of X1 X century, therefore removed by the very possessed 2 oil paintings, one time-consuming task of stitched to each face; while vacuuming each stitch with the the second banner, "Banni@re de aid of a vacuum tweezer pick-up la Soci@te Saint-Jean-Baptiste system, supplied by de Charlesbourg, circa 1880, Conservation Materials Ltd. belonging to the Fabrique Fortunately, the motor of this Saint-Charles-Borromde, vacuum was extremely quiet, possessed an oil painting providing no apparent working stitched to one face, while the discomfort. However, due to other face, quite uniquely, the amount of dust to be displayed a polychromed wooded removed, it was necessary to sculpture of a cardinal clothed make certain minor in a textile costume, whereby modifications to the vacuum the ensemble was also stitched system. The black tubing was to the banner face. replaced with transparent tygon tubing, so that any excessive After a thorough cleaning of accumulation of dust/particles the banners, by vacuuming, the could be easily detected. The many fragile areas of the silk small Plexiglas cylinder fabrics were reinforced with containing a filtering material 7 thulgle adhesive. The trims, was soaked in water over-night, ' which had become loose and/or to release the adhesive bonding unstitched, were restitched the cylinder to its two hose using cotton thread. Many of attachments, thus permitting the loose and broken metal access to the cylinder and the threads were secured in place, filtering material. with the aid of tweezers and 17 held in position by Upon viewing the banner, neighbouring threads. The suspended from the high ceiling wooden head of the cardinal of the Musie du Quibec, it was figurine, of the banner observed that the repositioning St-Charles-Borrom§e was of the pole loops assisted restitched, using linen thread greatly in reducing much of the and original attachment/sewing distortion of the banner faces, holes, located along the while providing added support outside edge of the head, to to the painting and sculptured the silk fabric banner face. figurine. The suspension Fortunately, the banner faces height and lighting effects had been originally reinforced assisted in establishing visual with interior supporting compatibility of the fabrics. "newly-aged" pole rings and original trims and fringes. The banner of St-Charles-Borrom§e also The Cope of Mgr. Lafl@che, required a new mounting method, 16/U as the original mounting method had been removed (as evidenced Property ·of/exhibited by by the existence of small bands Musee Pierre Boucher, of silk fabric along the Trois-Rivieres, Qu@bec. upper-most edge) and replaced with brass rings and cotton With reference to tapes. The narrow width of the photographic documentation from cotton tapes and their poor 1870, Mgr. Lafl@che was relocalization along the received by the Pope, at the upper-most edge, had assisted Vatican, whereby he wore a cope in greatly distorting the silk fabricated of an ecru col oured banner faces, the painting and moi r6 silk, decorated with gold the sculptured cardinal coloured silk trims and lined figurine. mainly with a violet coloured cotton lining - the lining of All brass rings and cotton the orphrey band being composed tapes were removed. A of a fine violet coloured silk lami/cotton trim was purchased, broadcloth. Although in to be used as the new mounting generally good condition, the material, in the fabrication of cope had been well utilized. as a series of pole rings, which evidenced by several tears would be stitched to the about the morse; total original positions along the replacement of a section along upper-most edge of the banner. the neck edge of the hood; most As the lam@ was relatively of the silk lining of the shiny in comparison to the orphrey band had been replaced, somewhat tarnished trims and on two different occasions, fringes of the banner, the new with two different types of trim was passed over a hot gas silk, of two different shades element of a domestic stove. of red, leaving only two This process dulled/darkened original sections of the silk the lami trim resulting in an lining, one at either of both overall aged appearance of the bottom edges of the orphrey trim. band. 18 Regulations regarding religious over the dyed fabric, section dress dictate that the red at a time, until the fabric was coloured silk lining of the completely dry. In order that orphrey band would have been the correct "Valle" be reserved for archbishops. obtained, it was necessary for Hence as this cope was worn the fabric to be wet upon originally by an archbishop, as commencing the ironing further evidenced by the two procedure. If the fabric had remaining pieces of violet been initially dryed and then coloured silk, all of the red ironed, the desired "Value" was silk linings (former repairs) not obtained. were removed from the cope. The cope was vacuumed and cleaned very lightly with a 70:30 solution of ethyl alcohol and deionized water. To assist in the reduction of the many distortions of the cope, that had developed over the years, all other repairs were removed and the cope was steamed and blocked out, section at a time. Tears, areas of weakness and missing sections of fabrics, were replaced with fabrics of similar texture, ordered from Testfabrics Inc. (fabrics specially prepared for dyeing) and dyed to match, approximately, the existing colours, with Sandoz synthetic dyes. Of particular interest was the problem encountered with the continuous panel of silk broadcloth, dyed violet, which was to be used to reline the orphrey band. Two attempts to allow the fabric to dry, while blocked out, resulted in a complete change in the "Value" of the colour - in both cases the deep violet colour was not obtained. Upon consultation with Sandoz of Montreal, the correct "Value" was obtained through heat-setting. A domestic type iron was passed 19 usually with modern NATIONAL MARITIME MUSEUM reproductions by the ship model conservator. We aim to find a LONDON ENGLAND consolidant which could be painted onto the riggina and As a new subscriber to the an adhesive strong and flexible Textile Conservation Newsletter enough to join the broken ends. Mrs. N.T. Muir, Textile This would not only save Conservator has written to let original rigging, but also a our readers know about some of great deal of conservation the projects they are currently time. working on. "If anyone has any thoughts 'Our main research at present on any of these topics, we is in the area of painted flags would be delighted to hear from and banners. We have quite a them at the Conservation variety in our collection, and Department at the following a trainee, now in her 3rd year, address": was appointed to make them her special field of study, working National Maritime Museum both in textile and picture London, England SE10 9NF conservation. We are particularly interested in the consolidation of the paint layers prior to washing, and have been experimenting with Beva 371 along these lines. We would be very glad to hear from anyone with experiences or ideas on Beva or any other consolidant they have used in this context. 'Other areas of concern to us are the consolidation of rigging on ship models and the support of shattered silk linings in uniforms. In treating the latter, we have again been considering the use of Beva 371 as an adhesive, sprayed in coats to a support, which seems to give a more flexible result than P.V.A. "The consolidation of rigging is perhaps rather particular to this museum. It is often fragile and broken, and up until now has been replaced 20 ACID FREE, DEACIDIFICATION, deacidification, it removes ALKALINE RESERVE - WHAT "DO" WE water soluble acids. Washing MEAN? with a mild alkaline solution, in part, may remove water Acid free soluble acids by dilution but it also neutralizes acids Concern has been raised many through the acid/base chemical times about the use of ."acid reaction. Also when the paper free" paper or boxes for is dried the alkali that storage of textiles and other remains in the paper may artifacts. The difficulty in neutralize any acids which in addressing the concern is due the future may migrate into the to the ambiguity of the term paper. This alkall or base is "acid free". What does it called an "alkaline reserve". really mean? The term "acid Non-aqueous and vapour treat- free" according to Ritzenthaler ments do not remove the acids 1982, should be dropped for -they neutralize the acids in more definitive terms, but in situ. the same article the author states that all paper folders Neutralization should be "acid free" and "buffered" to have an "alkaline Neutralization is the reserve" with a minimum of pH acid/base reaction, which is 8.5. the chemical reaction of an acid with a base to form a salt Also confusion arises because and water, i.e. hydrochloric of the overlap of terms between acid reacts with sodium conservation treatment of paper hydroxide to form the salt and fabrication of paper used sodium chloride and water. for storage and wrapping. In Neutralization has nothing to lieu of defining "acid free" do with neutral pH7. pH is a the following explanations of characteristic of a solution, the terminology and mechanisms not a chemical reaction. related to this term, hopefully will help to clarify the ambiguity. pH is a familiar symbol. It Deacidification is a convenient symbol to designate the "actual acidity "Deacidification" is a term or alkalinity" of a solution. which rightly belongs to The range is from pH 1 (most conservation treatment. It acidic) through pH 7 (neutral) implies that an acid was to pH 14 (most basic). The present and has been removed. actual acidity is a result of There are many treatments the acids or bases ionizing in called deacidification but only solution. This means that the a few really are. Harris 1978, molecule is dissociated into states that deacidification in negative hydroxyl (OH+) and many cases is a misnomer. positive hydrogen (H+) ions. Washing in water is truly The pH meter measures the presence of the H+ ions. 21 Weak and strong acids or bases of tltration all the acids present are dissociated by a Some acids are strong acids strong base. and ionize completely in solutions such as hydrochloric Potential acid in paper or sulfuric acid. Weak acids do not completely dissociate Acid and bases in materials into ions. In the case of come from fabrication, usage or acetic acid only a small amount migration from air or contact of molecules dissociate into H+ with acidic materials. In and acetate ions. An paper making chemicals are equilibrium between the introduced in the pulping molecular state and the ions is process (Wenzl 1970). Pulps reached. The pH of a IN are mainly processed by soda (Normal) solution of HCl is pH cook or kraft cook (using 0.3 whereas a IN solution of sodium sulfite) of high acetic acid is pH 2.4. alkaline liquors. Acids may (N-Normal designates a concen- not be present in the manu- tration measured according to factured paper but the poten- molecular weight and tial of acid formation is structure.) Bases are present. Remnant lignin mole- similiar, sodium hydroxide cules may break down into weak completely dissociates in a acidic phenolic monomers and solution and is thus a strong the sul fides present may form base whereas calcium carbonate strong sulfuric acid. Native only partially dissociates and materials such as 100% rag, is thus a weak base. Acids are cellulose pulp, cotton linters, called H+ ion donors because etc., do not have the chemical these ions are available for potential of forming these chemical reactions. The acid acids. damage.in materials is due to the reaction of these H+ ions Both the chemically processed in chemical processes such as pulp and native materials have hydrolysis. For example, the potential of adsorption of hydrolyses of proteins breaks sulfur dioxide in the air which (depolymerizes) the protein may form su 1 furi c ac i d. molecule into individual amino acids causing eventual Alkaline reserve solubilization. "Alkaline reserve" paper is Total acidity usually made from native mater- ials but during the manufac- Another aspect of acids in turing process up to 20% artifact material is "total calcium carbonate is incor- acidity". This is measured porated into the pulp. The chemically by neutralization of alkaline reserve is present to the acid by a method called neutralize acids which may titration. Total acidity will migrate from acid materials or give a total of all the acid result from sulfur dioxide present not only the dis- adsorption. sociated acid. In the process 22 Literally speaking the through a disaster planning alkaline reserve acts as a seminar. A potential hazard of buffer against acidity. alkaline reserve papers comes to mind. If the paper becomes Buffer solution wet the calcium carbonate may stick to artifact material. Chemically speaking the term Calcium carbonate is .practi- buffer is very precise. A cally insoluble in water but it buffering solution (Lehninger can be solubilized by weak 1971) contains a weak acid and acids. This could possibly salts of this acid. Depending occur on acidlc materials and on the acid the buffering result in a heat of reaction solution will resist a pH which may present a hazard. An change at a specific pH, on the example would be the wettina of addition of other acids or leather suffering from acidic bases. To explain further, a red rot wi th the reserve biologist may want to study the alkaline, resulting in heat growth of a fungus at a formation which could shrink specific pH.· The growth medium the deteriorated leather. used would contain a buffer solution to maintain that Final Statement specific pH. The addition of acidic metabolic products The intention of this short formed during the growth of the article is not to advise which fungus would not alter the pH. papers can or cannot be used Rarely are true buffer - for storage or wrapping of solutions used in paper textiles. Rather it is conservation or in paper intended to inform the reader manufacture. But it is of the meaning and significance possible that calcium carbonate of the terms used and some used io alkaline reserve papers understanding of interactions and adsorbed carbon dioxide which could occur. It is up to from the air could form a the reader to make the correct potential buffering solution of decision, each situation is the weak carbonic acid and its' unique. salt, calcium carbonate, resisting a change of pH at pH Mary-Lou Florian 6.37. Conservation Scientist B.C. Provincial Museum Alkaline damage Victoria B.C. VBV 1X4 Papers with alkal ine reserves References cited: of calcium carbonate have been shown to cau se probl ems wi th Harris, C. 1978 protein films on photographs or Mass deacidification. L.J. negatives. We are aware of series on preservation. No. 4 potential alkaline damage of the protein in wool and Lehninger, A. L. 1971 leather. With this in mind it Biochemistry. Worth Publishers may be advisable to prevent Inc. contact of protein materials and alkaline reserve paper. Ritzenthaler, M.L. 1983 Archives & Manuscripts: Con- Disaster planning servation: A manual on physical care and management. One final thought. At B.C. Soc. of Amer. Archivists, Prov. Museum we have just been Chicago 23 Wenzl, H.F.J. 1970 should we be removing sizing, The chemical technology of are optical brighteners wood. Academic Press. harmful? Other reference Polyester has gained a reputation for neutrality and Roberts, M.T. & D. Etherington non-reactivity. Cotton- 1982 polyester blends should there- Bookbinding and the fore be as useful as 100% conservation of books. A cotton. "Mylar", although dictionary of descriptive . expensive, might be considered terminology. Library of for lining drawers, wrapping Congress. Wash. rolls. "Reemay" may be one of our best substitutes for tissue APPENDIX - it is very light and can be crumpled to use for stuffing. In considering the hazards It too has the advantage of that may be present in the use being washable, and may be of tissues containing an available in di·fferent weights. alkaline reserve it looks as "Pellon", while more readily though it may be time to stop obtainable has a pH ( dare I use chanting "acid free tissue" as the term?) of 5. Understanding our professional anthem. We it to be "spunbonded should also start asking more polyester", what does it questions of paper manufac- contain that increases the turers and perhaps begin to acidity? Does "Reemay" contain consider some alternatives. the same? When using synthetics, we should be Paper made of native mater- choosing those with the fewest ials alone, 100% cotton or additions. Is this information linen rag, look reasonable, available? but are there manufacturers producing 100% rag tissue? Nylon tulle is also very use- ful for stuffing three- Cotton and linen fabric, dimensional artifacts. It has would appear to be a good some real advantages in display choice for lining drawers, applications - being less wrapping rolled textiles. opaque, it can be less Cotton has also the advantage obtrusive when used to stuff of being universally available lacy pieces, and is less likely (no need to wait for distant than tissue to slip out of suppliers) and may be obtain- sleeves or trouser legs. It able free in the form of comes in different weights and recycled hospital sheeting.. is also washable. Like the Fabric has the further cotton sheeting, it might be advantage of being washable - available second-hand - lots of should it become contaminated windows are, or have been, hung by soiled artifacts, acid with nylon drapery "sheers". migration, furnace blow-out, floods it can be readily Acrylic and polypropylene are cleaned and neutralized. On also neutral, stable materials. the other hand, are there Are they available in any form undesirable additives in com- that might make them useful in mercially available fabric - stuffing or isolating artifacts? 24 We are all accustomed to our some, I would be happy to ideas of conservation being an divide what I have, rather than improvement over the waste it. unscientific past, so it should not come as a surprise that Contact: continuing research has shaken more current beliefs. In a Colleen Wilson rapidly developing field such Textile Conservator as textile conservation, we can B.C. Provincial Museum only expect change, and these 675 Belleville Street changes should form a basis,for Victoria, B.C. VBV 1X4 discussion, not di spair. Hopefully in the next issue we Rainbow Vacuum Cleaner will see a continuing exchange of ideas and information on traps dust and dirt in this topic. What have you water-receptacle making it found out about your sources of possible to take pH of tissue, what alternatives have extracted substances you considered, or are using? all sorts of cleaning Colleen Wilson appl ications and attachments B.C.P.M. Rexair Inc. 900 Tower Drive Suite 700 ' SUPPLIES P.O. Box 3610 Troy, Michigan 48007 In May, 1984, Henley (313) 879-2600 Chemicals very kindly gave me 5 kg of their adhesive Vinnapas Thanks to Mary Ballard, Dispersion EPl. It is a P.V.A. C.A.L., Smithsonian emulsion and is comparable to Institution, Washington D.C. Mowilith DM5 in its suitability for this information. for use in conservation. Testfabrics - Recently one of our staff attended a laboratory safety Jan Vuori (CCI) course where it was pointed out that many chemicals have a Testfabrics, Inc. of shelf life. This apparently Middlesex New Jersey offers a includes adhesives (although it wide variety of products and does not reflect on their services of interest to textile stability in use) and refriger- conservators and researchers. ation only aggravates the Included are a selection of problem. natural, synthetic and blended fabrics in white or natural The Vinnapas Dispersion EPl colour without resin finishes. that I have appears to be in All the fabrics are desized, excellent condition and it will scoured and prepared for take me years to make a dent in dyeing, printing, painting, 5 kg. If anyone would like etc. 25 Specialty textile services The company is able to dye include: custom 4yeing (30 yd. Stabiltex with Ciba Geigy dyes lots), custom printing and matching colour samples sent to special fabric procurement. them. One can either deal directly with this company or Testfabrics Inc. is also a with a local supplier. source of standard fibres, yarns and fabrics prepared CCI uses B. and specifically for laboratory S.H. Thompson, 235 Boul. use. Materials and services Montpellier, St. Laurent, include: Montreal, P.Q., H4N 2G3. We have found it more economical 1) Materials for AATCC Test to order large quantities. For methods any custom order approximately 2) Fabrics for 150 Test $250.00 Canadian flat rate is Methods added to the approximate $30.00 3) Identification stains for Canadian per meter basic price natural and synthetic of coloured Stablltex. fibres 4) Skeins for 4yestuff Centre de conservation du standardization Qu6bec 5) Soiled fabrics for the Re: Sharon Little-Ragusich soap and detergency Lapidary industry Swlssor 6) Fabric cutting 731, rue Commerciale St-David (LBvis), Quebec Swatch books of 1. cotton Canada and viscose and 2. linen, silk 66W 1Et and wool are available for a T61.: (418) 837-8808 price of $7.00 (U.S.). A Atten: Mr. Pierre Cornil colour card and mail order catalogue are also available. Notions: Beads, Trims, Feathers, etc. Inquiries should be directed Shillers to: 1421, Boul. St-Laurent Montr@al, Quitbec Testfabrics Inc. Canada 82X 258 P.O. Drawer 0 Middlesex, New. Jersey T61.: (514) 288-4201 U.S.A. 08846 (201) 469-6446 Stabiltex Ela Keyserlingk (C.C.I.) Stabiltex is manufactured by the Swiss Silk Bolting Cloth Mfg. Co. Ltd., Grutlistrasse 68 CH-8027 Zurich. Switzerland. 26 ROLLING PALLET FOR STORAGE and 8' cabinets, causes their CABINET bases to warp when they are raised up, whether by one or by History Division, National two pallet trucks. This Museum of Man warping takes the form of bowing at the lifting point(s) Over the last several years and placing other stresses on the History Division, National the cabinets as well. Museum of Man, National Museums of Canada, developed texti le The usual way of fixing this cabinets specifically designed problem is to attach stringers to meet the needs of its to the bottom of the pallet, collection. Made by a company forming a box which can be in Toronto, they are entered by a pallet truck. constructed of a melamine case However, since the cabinets and plywood .drawers which have must fit down small laneways, been painted and sanded three they have to be moved times. Each cabinet has a lengthwlse on dollies placed standard height of 64". The underneath the- cabinet whi le cabinets vary in width and it is being held up by the depth (48"x28", 72"x28", pallet truck. If there were 96"x32") and the number of stringers placed across the drawers (13, 19 and 48 in the bottom of the pallet, the 48" units; 8 and 11 in the 72" pallet truck's front wheels and 96" units). The 48-drawer would become trapped. unit has drawers mounted on lengths of Acrylonirile Cabinet on pallet truck Butadiene Styrene (ABS) angle showing how the base warps instead of drawer slides. when raised off floor. Typical Cabinet with 4"x4" stringers making up the pallet: - 1 0 Io 10 c':1 Lili C - 1 To overcome this problem, we n - ! first looked at building a steel pallet which would lili provide the necessary strength 6-/ 6 to prevent warping. This solution still left us wi th the trouble of putting dollies underneath as well as the need to wrestle the We have been very pleased cabinets into place once they with these cabinets. Our only arrived on site. reservation comes whenever we have to move them. All of the To solve this second problem, drawers' weight is carried by we looked at the idea of the side wal Ts. This weight, putting wheels on the pallet. placed at the ends of the 6' The resulting pallet would give Z7 us both strength and mobility the frame. The mounting plate without the need for lifting. has four holes in it to allow This would make fitting the mounting by screws. However cabinets snuggly into place at only one hole is accessable their storage location a very after welding. Pieces of straightforward job without any plywood are mounted on these dollies and lift trucks plates and fastened down with underfoot. counter-sunk bolts. The wooM comes up flush with the top of We approached Redirack the frame. The cabinet is Industries to provide a drawing then fastened on to the for a steel pallet either with plywood. skids or with wheels attached. The price of these wheeled Steel Frame Pallet with Wheels pallets in January, 1984 ranged from $165.00 to 182.00 each. e The Ottawa office of Redirack is: S P.O. Box 7100 Ottawa, Ontario Kl L BE2 (613) 735-5431 When the drawings were If you have any further returned we found that the questions or comments, please price difference was about contact: $40-50.to add wheels. The decision was an easy one for us Jim Donnelly to make. We had just gone Registrar of the History through a move of 37 of these Collection cabinets to another building History Division and had seen the amount of National Museum of Man labour required to lift these Ottawa, Ontario cabinets four times before they Kl A OM8 reached their destination. We (613) 992-9481 realized that we would make up this extra cost in future time saved and less wear and tear on the cabinets (not to mention staff). These pallets have wheels which are 4" in diameter, can swivel, have sheel locks and made of a 'plastic' compound which we are told will not flatten out aftr sitting in one place for a long time. The pallets add an additional 7" to the height of each cabinet. The mounting plates of the wheels are welded to 28 PROFESSIONAL SERVICES HEALTH AND SAFETY AATCC Technical Center Textiles Dyes are Potential P.O. Box 12215 Hazards" Caterine L. Jenkins Research Triangle Park PhD. in Journal of N.C., U.S.A. Environmental Health Vol 40 27709 Number 5 (Mar/Apr ' 78) pp 256-263. ABOUT AATCC "The Impact of Hazards in Art AATCC is a technical and on Female Workers" Michael scientific society whose McCann in Preventive Medicine members live in the USA and 50 Vol. 7 Number 3 (Sept '78) pf other countries. Some 300 338-348. organizations in the textile, chemical and related industries Both these articles are also help support the association as available from Art Hazards corporate members. The Newsletter. Association is recognized internationally for its standard test methods used DYE HAZARD WARNING throughout the wet-processing industry. A continuing program According to Monona Rossol of education through workshops (Centre for Occupational and symposia is also available Hazards, New York) in her to members and those who are article entitled "Dye Hazards not members of AATCC. and Precautions", users of dyes should ask distributors and Centre de conservation du Re: manufacturers to provide the Quebec, Colour Index (C.I.) Sharon Little-Ragusich identification for their dye products. (Those who participated in the C.C.I. dye workshop Oct. 31 and Nov. 1, 1983 will have received the Ciba-Geigy Safety Data Sheets for all dyestuffs provided at the workshop. The C.I. identification is provided on these for each dye.) The C.I. identifications are "recognized internationally and make it possible for dye users to research scientific literature for details about particular dyes' properties and hazards." The Ciba-Geigy Cuprophenyl dye Brilliant Blue 2BL 380% is identified as C.I. Direct Blue 158, which is on Ms. Rossot's - 29 Benzidine Congener Dyes" black list. These dyes are derived EMPLOYMENT OPPORTUNITIES chemically from a substance called benzidine. Owing to the TEXTILE CONSERVATOR WANTED hazardous nature of this substance, Ms. Rossol The Arizona Heritage Center, recommends that all but very a division of the Arizona occasional use of these dyes Historical Society, is should be avoided. accepting applications for the posi tion of texti le conservator For further details, send a for a one year project. Funded self-addressed, stamped in part by an IMS grant, the business envelope to: Heritage Center is seeking a conservator to survey and Centre for Occupational evaluate approximately 2200 Hazards flat and three dimensional 5 Beckman Street costumes and textiles, which New York, N.Y. 10038 date primarily to the 19th century. The-project entails Thanks to Candace Boyer, the preparation of condition Parks Canada, Halifax, for this reports, treatment proposals information. and a treatment priority list. Time permitting, the Re: Sharon Little-Ragusich conservator will also begin the treatment of objects. Guidelines for the Safe Handling of Dyestuffs in Colour While academic training is Storerooms not a requirement, candidates should have a background in This booklet forms part of a texti le and costume history and campaign by ETAD (Ecological analysis, in addition to and Toxicological Association experience in conservation. of the Dyestuffs Manufacturing Salary for the year is $17,064 Industry) to encourage the use (U.S.) with a proposed hiring of good working practices by date of January 1, 1985. dye users. Interested individuals should send a letter of application, Free copies are available resume and references to: from: Robert Herskovitz ETAD Conservator 1075, Central Park Avenue Arizona Heritage Center Scarsdale, New York 949 E. Second Street U.S.A. Tucson, AZ 85719 10583 Re: Canadian Textile Journal, Apr.84 30 PUBLICATIONS '.:ff·*413 their exhibit catalogue 4.,I.:957: "Alberta Quilts." The result 4.0.V v.:.3/0;9:4.,0 of two years research by Sandra S.44 1·S·U·9·9% 7 liST.-Ip' 4.' ' Sandra Morton Weizman Curator of Social History 15Sftn*8.j . !:244:*i:,2*t:$ Provincial Museum of Alberta (4454Ce.:.44. 12845 - 102 Avenue b'·-4.6ki:.0. 14' Edmonton, Alberta **2*5»: TSN OM6 1'*t..y..99:*·'SB rss> COSTUME SOCIETY OF AMERICA CONFERENCES 11th Annual Symposium and IIC-CANADIAN GROUP CONFERENCE meeting HALIFAX 1985 to be held at the Fashion The 1985 conference will be Institute of Technology, New held at Dalhousie Universitv, York City, July 12-14, 1985. Halifax, Nova Scotia, May 17 - 19. Papers are invited of theme: "The Technology of either 15 or 25 minute duration Fashion° on all conservation topics. Of special interest will be: contact: early technology, craft skills, Costume Society of America professional development and 15 Little John Road computer applications. P.O. Box 761 Deadline for abstracts, which Englishtown, New Jersey should be 250 - 400 words, is (201) 536-4123 January 15, 1985. For further information contact: A. I.C. 13th ANNUAL MEETING Edward Paterson to be held in Washington Programme Chairman D.C., IIC - CG HALIFAX 85 1532 Birmingham Street May 22-26, 1985 Halifax, Nova Scotia Canada 83J ZJ 7 (902) contact: 426-7448 Terry Drayman Weisser The Walters Art Gellery COMPUTER TECHNOLOGY AND 600 N. Charles St. ZONSERVATION Baltimore, M.D. 21201 May 13-16, 1985 The "Call for Papers" for the General Session has gone out - a training workshop covering but members are encouraged to systems analysis and design, submit textile-related practical applications for abstracts or ideas for conservation management, Specialty Group Sessions to: documentation, and the 1 aboratory. Precedes the 11 th Mary Ballard, Chair Annual IIC-CG Conference, Conservation Analytical Halifax, Nova Scotia. For Laboratory details contact: Museum Support Center Smithsonian Institution John Perkins Washington D.C. 20560 IIC-CG Training - Halifax (202) 287-3792 '85 1532 Birmingham St. REPORT ON THE HARPERS FERRY Halifax, Nova Scotia SYMPOSIUM Canada 83J 2J 7 (902) 426-3452 Eight Canadians were among the 235 North American and 32 British participants in the Proceedings of the Harpers Seventh Symposium of the Ferry Regional Textile Group Harpers Ferry Regional Textile are available on Tape from: Group. The meetings were held on November 1-2 at the Cassette Recording Co. Smithsonian Institution in 1444 Third National Building Washington, D.C. Three of the Dayton, Ohio 17 papers were presented by (513) 223-5380 Canadian participants Eva Burnham, Chris Feniak, and Gail ALBERTA MUSEUMS ASSOCIATION Sundstrom Niinimaa. October 18-21, 1984 The subject of this year's conference was "Special Stettler. Textile related Problems in the Treatment of papers presented included: Three-Dimensional Textile Objects". Papers included both "Researching Albert Quilts theoretical and general through Oral History" - presentations, and case studies Sandra Morton-Weizman with broader theoretical implications. Problems in "A Workshop: Practical storage, exhibition, Solutions for Applying Numbers examination, and treatment were to Objects" - Ann Howatt Krahn discussed, concerning historical ethnographic, and "The Use of Reproductions vs archaeological materials. Original Textiles at Historic Sites" - Catherine Cooper-Cole The Harpers Ferry Regional Textile Group annual "Storage: Guidelines for conferences provide a very Decision Making" - Ann Lambert welcome opportunity for textile conservators and curators to share ideas, learn about new developments in the field, and renew valuable contacts and friendships. If you would like to be placed on their mailing list, please contact: Katheleen Betts The Anderson House Museum 2118 Massachusetts Avenue NW TCN Washington, D.C. 20008 SUBMISS ION DEADLINE MAY 30 33 WORKSHOPS The University of British Columbia Museum of Anthropology is offering a one day workshop of information and practical advice for craftspeople and collectors on the care and preservation of historical, ethnographic and contemporary textiles. Speakers will include Colleen Wilson of the British Columbia Provincial Museum, Krista Jensen Turnbull of the Burke Museum, and Anne Lambert of the Department of Clothing and Textiles, University of Alberta. The Workshop will be held at the Museum of Anthropology on February 23, 1985. Museum of Anthropology programmes are produces with the assistance of The Museum Assistance Programmes of the National Museums of Canada and the Government of British Columbia through the British Columbia Cultural Fund and Lottery revenues. AMERICAN ASSOCIATION OF TEXTILE AND COLORISTS/CHEMISTS 'Color Symposium" March 20-21, 1985 An Introduction to Textile Testing" May 22-23, 1985 For additional information contact: Joan Mitchell Workshop/Symposium Co-ordinator AATCC Technical Center P.O. Box 12215 Research Triangle Park North Carolina 27709 (919) 549-8141 34 Costume Society of Ontario SEMINARS Lecture Series: The Museum for Textiles 585 Bloor Street West, Apr. 17/85 "Costume in the Toronto Theatre: a Brief History" Selected Textile Lecture Martha Mann Southgate Series: Tuesday evenings, starting The lecture will take place after April 10, for six weeks, at 7:30 p.m. in Room A, Oakham 7:00-9:30 p.m. House (Ryerson), 63 Gould St., Presented by Lynne Milgram. Toronto Admission $2.00 at door Topics include Japanese Folk includes coffee. Textiles, Indian Chintz, Indonesian Batik & Ikat Textile Conservation Group of Textiles, African Textiles, NY has announced January 29, and The Paisley Shawl. March 12, and May 7 for Cost: $40.00 meetings. For more information contact: The Museum for Textiles Polly Willman, Chair Textile Conservation Group Membership: Individual $ 20/yr 483 124th St. #21 Family 30/yr Brooklyn, N.Y. Life 1,000/yr Contrib'try 100/yr Costume Society of America Membership includes: Regional Meeting on the conservation of costumes in 1) Invitations to special Cleveland, Western Reserve events Historical Society, October 1985. Contact: 2) Discounts on catalogues Joan Severa 3) Private viewing State Historical Society appointments of Wisconsin 816 State Street 4) Your membership dues assist Madison, Wisconsin in purchase of resource material and new textile Courses acquisitions. From Sept. to Dec. 1985 Jacqueline Beaudin-Ross, Curator of Costumes, McCord Museum, Montreal gave a course on Costumes in Canada Decorative Arts Department Concordia University. 35 Report on: Disaster Planning effective if good lines of for Museums, Galleries and communication are established Archives. and maintained. It is Oct. 16-19 Victoria, B.C. important to ensure that museum officials know where the museum Two major catagories of fits into larger civil plans. disasters were identified: 1. "Emergency Planning Canada!, a in-house emergency situations federal agency has regional 2. widespread civil offices in every province, emergencies. The first type which in turn have regional concern the museum (gal lery, managers with contacts in every archive) alone, e.g. a fire, municipality. It is equally localized flooding,. bomb important to ensure that the threat. While having no small police and fire departments are potential for destruction the familiar with not only the impact of this type of disaster museum building, but the can be lessened by communi ty museum's priorities - typically support (if this has been fire-fighters consider a organized effectively building to be of more value beforehand). Museum staff can than its contents. Everyu be expected to respond, as will museum, gallery, archives fire departments, police. should have a written Disaster Warehouse space can be arranged Plan that identifies areas of for evacuation of artifacts, priority, lines of supplies (that have been responsibility, sources of identifies and located supplies. While there are previously) will be available. examples available for In the second type of emergency inspiration, the plan should be - earth-quake, hurricane, unique to the institutionl. widespread flook, chemical The C.C.I. has a series of spill, state of war - the notes that will provide some museum will be thrown on its guidance and John of the U.S. own resources. Staff may be National Parks Service has unable to reach the museum, prepared a very valuable even if their family concerns "Selected Readings in Museum permit; the safety of artifacts Emergency Planning". will be low on the list of civil officials concerned with Addresses: human life. Support in terms of space and supplies will Public Information Branch probably be unavailable. In Emergency Planning Canada fact the museum, as a large Ottawa, Ontario KlA OW6 public space, may be expected ask for information on the to provide shelter for homeless regional office in your area. or evacuated people. Canadian Conservation Institute It became clear through the 1030 Innes Road presentations of a number of Ottawa, Ontario KlA OM8 experts including civil CCI Notes 14/1, 14/2, 14/3 representatives museum planners, and conservators John E. Hunter, Staff Curator experienced in dealing with Midwest Regional Office disasters, that not only is a National Park Service comprehensive plan essential, 1709 Jackson Street but that it will only be Omaha, Nebraska 68154 36 McCORD MUSEUM, MONTREAL EXHIBITIONS re: Sharon Little-Ragusich ROYAL ONTARIO MUSEUM "A CENTENNIAL OF COSTUME: 1884-1984" Textile Gal lery "Early Canadian Quilts" During the academic year, Oct. 13/84 to April 8/85 1984-85, women graduates of Canadiana Building McGill University will 14 Queen's Park Crescent West celebrate the one-hundredth Toronto year of feminine presence at "Ecclesiastical Vestments" the university. As part of the to April 30/85 extensive proramme of events for the Women s Centennial, a McCORD MUSEUM special exhibition will be mounted in the Costume Gallery A Centennial of Costume: of the McCord Museum from 1884-1984" September 12, 1984 to June 30, to June 30, 1985 1985. 690 Sherbrooke Street West, Montreal A Centennial of Costume: 1884-1984 will feature various MUTTART GALLERY types of clothing from the period. It will include some "Alberta Quilts" singular McGill attire such as Calgary the academic gown and trencher Sept. 11 - Nov. 4, 1984 hat worn by Sir William Dawson, principal at the time when RED DEER AND DISTRICT MUSEUM women were first admitted, and a 1910 Home Economics course Feb. 5 - Mar. 27, 1985 uniform. One section will be Prairie Gallery, Grande Prairie devoted to artefacts related to May 7-27, 1985 the early years of courses in Provincial Museum of Alberta the making of clothes at Edmonton Macdonald College. Also June 11 - Aug. 12, 1985 exhibited will be several rare examples of dress: a BRITISH COLUMBIA PROVINCIAL revolutionary flowing aesthetic MUSEUM gown of the 18805, a late-nineteenth century bicycle The B.C.P.M. is to have its suit and an Edwardian bathing own Canadian Pacific Railway suit, the latter two lent by Exhibition. Aside from steam Toronto costume collector, engines and railway ties, the Alan Suddon. The display exhibit will include a number briefly examines the of cases of travelling relationship amongst various clothing: a man's, woman's and emancipatory trends of the girl's outfit. from the 1920's. period. It touches on dress May 22, 1985 reform movements in England, 4 .. 37 - the United States and Montreal, 1 and the connection between PEOPLE women's growing participation in sports and an increasing re: Centre de conservation du freedom in their clothing. Quibec A Centennial of Costume has Simone Bilodeau shall be the been made possible through the first student to receive generous participation of Le credits towards her degree in chdteau, the boutique for "the Consumer Studies, Univesit young and the young at heart". Laval, for her part-time Three outfits from Le Chateau's apprenticeship at the Textile fall 1984 collection will Conservation Laboratory of the represent today's fashion. Centre de Conservation du Quabec. SMITHSONIAN INSTITUTION - Sharon Little-Ragusich is RENWICK GALLERY (Washington, acting as assistant director D.C.) for the M.A. thesis of Valerie Laforge, Universit8 Lavel. "Fanfare III: Chinese Export The topic of her thesis shall Fans, Handscreens, late 19th focus on "The Storage of and early 20th Century European Textile Collections in the Fans" Province of Qu6bec: Problems January 18 - July 21, 1985 and Solutions". Esther MBth@ has recently commenced an apprenticeship, on a part-time basis, at the Textile Conservation Laboratory of the Centre de Conservation du Quibec. Francine Remillard of Queens University Art Conservation Program, treated a small SE collection of ceinture flechee, at the Textile Conservation - Laboratory, of the Centre de Conservation du Quibec, during the month of June, 1984. ZE .. 38 Back issues of Textile Conservation Newsletter are ERRATUM available for $3.00 per issue including postage and Barbara Kennedy's article handling. entitled "A Small Vacuum System for the Conservation The Textile Conservation Laboratory", and Newsletter is published twice a David Hillman's article year in the spring and fall. entitled "Fumigation at the B.C. Provincial,Museum", both Deadlines for 1985 are: of which appeared in the March 30 May 1984 issue of T.C.N., were 31 October previously published in the December 1983 IIC-CG Newsletter Submissions should be addressed under "Technical Notes". The to: Editors of T.C.N. apologize that mention of this was ,Eva Burnham, Julie.Hughes omitted in our March issue, and Textile Conservation would like to express our Newsletter gratitude to IIC-CG for their P.O. Box 4887, Station E having allowed us to reprint Ottawa, Ontario these two articles. Canada KlS 5J1 or: DISCLAIMER Colleen Wilson Conservation Division Articles in the Textile B.C. Provincial Museum Conservation Newsletter are not 675 Belleville Street intended as complete treatments ' Victoria, British Columbia of the subjects but rather Canada VBV 1X4 notes published for the purpose of general interest. We welcome submissions on: Affiliation with the Textile X Texti G Conservation Conservation Newsletter does History not imply professional Technology endorsement. Analysis TEXTILE CONSERVATION NEWSLETTER SUBSCRIPTION SURNAME, Given Name (please print) Institution: Mailing Address: Specialization: Date: Signature: Please make cheque or money order for $10 (Canadian) payable to: "Textile Conservation Newsletter" - Subscription rate $10 for 2 issues