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FALL 1988 TEXTILE CONSERVATION NEWSLETTER FALL 1988 ISSUE

TABLE OF CONTENTS

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FROM THE EDITORS

THE MUSEUM FOR TEXTILES Barbara Hewitt/Simon Waegemaekers A SUMMARY ON THE RECOVERY CONSERVATION AND ANALYSIS OF BURIAL FINDS FROM THE SEPULTURE

OF THE BAMBERG CATHEDRAL IN BAMBERG, GERMANY ...... 4 Hannelore Herrmann NEWS FROM THE CENTRE DE CONSERVATION DU QUEBEC ...... 7 Louise Lalonger FUR STORAGE AT THE PROVINCLAL MUSEUM OF ALBERTA ...... 10 Gladys Serafino CONSERVATION OF TWO NORTH WEST COAST INDIAN WOVEN MATS ...... 12 Joan Stager, Pat Cooper ARCHAEOLOGICAL HAT ...... 16 Lorrie Storr

"OPERATION MOTH" Colleen Wilson

"QUILT TOP BACKING PROJECT" ...... 20 Gail Niinimaa A TRIP AROUND THE WORLD ...... 21 Doreen Rockliff STORAGE OF CHRISTMAS TREE ORNAMENTS ...... 22 Gladys Serafino PRELIMINARY TREATMENT OF A 16TH CENTURY TAPESTRY ...... 23 Audrey Yardley-Jones

NEWS UPDATE FROM CMC ...... 25 Julie Hughes

UNIVERSITY COLLECTIONS CENTRE ALBERTA 26

REPORTS ON CONFERENCES, MEETINGS, COURSES ...... 26 Pests; Their Biology, Control & Prevention by

Michele P. Pagan . 26 Professional Development Day for Textile Conservators, Curators & Scientists at the Canadian Conservation Institure by Ela Keyserlingk ...... 29 Culture and Comfort: People, Parlors and Upholstery 1850-1930 Fall Symposium by Eva Burnham ...... 30 PUBLICATIONS INTERNSHIPS, COURSES, WORKSHOPS ...... 34 CONFERENCES TEXTILE AND COSTUME STUDY TOURS ...... 37

EXHIBITIONS ...... ····-·-··········-················· 39 POSITIONS ABOUT PEOPLE SUBSCRIPTION INFORMATION ...... 42 Submissions for Spring '89 TCN TCN Sucolementarv

TEXTILE We are welcoming submissions to be considered for the Spring '89 CONSERVATION supplementary. N ELVS LETTE R The reason we have published the "Annotated Bibliography on the Use of Adhesives Used in Textile FROM THE EDITORS Conservation" Spring 1987, and "Mannequins for the Royal Ontario After eight years of publishing Museum Costume Gallery", Spring TCN we have encountered a new 1988 was to make available longer milestone, that of our first tri- articles on specific topics, that lingual issue! Thank you for the would normally be too long for a submissions and a special regular TCN issue. Ideally an appreciation goes to Marie-No@l article to be considered for a Challan-Belval and Peter Vogel for supplementary should be at least 20 translating the articles. pages long (type-written, single- spaced) and ready for publication.

Editor's Note If you have material you wish to submit, please notify the TCN I was pleased to be asked by Editors by March lse, 1989. Eva Burnham in the Spring to take on the newsletter after Colleen Wilson retired. It has been very rewarding TCN Index to see the newsletter develop in the last 7 years into an informative and The index of all the TCN exciting collection of news about issues, from September 1981 to Fall Textile Conservation. However, the 1988, will be available with the success of this newsletter is Spring 1989 issue. Since we want limited to the contributions of the to make the index as comprehensive readers. It is your newsletter and useful as possible, we have to too!! Please contribute and share delay its publication until then. with us your discoveries and knowledge about textiles and Textile Conservation. I will look forward Renewal Notice to receiving many more articles for the Spring Newsletter and would This is the last issue of the welcome any comments which you may present subscription term 1987/88. have about the newsletter. If you have not already renewed your subscription for the 1989/90 Gail Niinimaa term, please use the form on the last page of this issue to renew your subscription. 2

THE MUSEUM FOR TEXTILES The collection serves as a permanent reference source for The Museum for Textiles is a historians, designers, students, non-profit educational institution scholars and crafts people. incorporated in 1975 as Canadian charitable organization #0478859- In the new facility the Museum 50-13. It is one of seven textile· will continue to fulfill its museums in the world; the others mandate of providing an accessible are Krefeld in Gemany, AEDTA and exhibition and research collection Lyons in France, Calico in India, aimed at promoting interest in, and Enschede in the Netherlands and the sensitivity to, the people and Textile Museum in Washington, D.C.. material culture of varied and often threatened societies. Initially The Museum for Textiles operated in two small The collection includes premises on Markham St. in Toronto, particularly important textile moving to its present location in groups from Indonesia, Central 1978. Once again the museum is Asia, India, South and Central preparting to expand. Twenty-four America, Canada, China (including thousand square feet of space on Tibet), Africa and eastern Europe five floors of a hotel and and includes garments, household condominium complex under decorations, animal covers and construction north of City Hall have ceremonial cloths. been donated by the president of Carlton Inns International, Fred GALLERIES. Ten museum galleries Braida. The new facility will feature textiles of specific include exhibition galleries, a geographic areas. Other galleries conservation lab, an auditorium and are for temporary theme member's lounge, a library, offices, exhibitions. A contemporary and accessible storage. The gallery exhibits the work of living expected public opening of the new Canadian weavers and fibre artists. Museum is January 1989. A special gallery is available for examining and photographing The thousands of ethnographic textiles from the reference textiles in the collection have been collections. Lectures, seminars acquired primarily through and films are scheduled in the individual donarions. Other auditorium, members lounge, and revenues have come through cash education gallery. donations, museum memberships, publication sales and government COLLECTIONS. The Museum for grants. Textiles collects noncommercial material that has been designed, Two factors make The Museum for woven and embellished by people for Textiles important and unique. their own use. Made from silk, First, it is the only such wool, cotton, and other plant and institution devoted to textiles in animal fibres, the fabrics range Canada and second, the entire from pounded and painted barkcloth collection is stored and conserved to complex loom-woven tapestries. in such a way that it remains The textiles might be worn, walked publicly accessible. The textiles on, slept under, carried, or used (with few exceptions) may be to dress up the family camel. examined and handled on request. 3

Because textiles are rarely LOCATION: The Museum is one block considered "art", they are rarely from the St. Patrick/Dundas subway seen in a museum setting. The and the Dundas/University streetcar Museum for Textiles challenges this stop. The City Hall underground by showing textiles of great power parking garage is just south of the and beauty, a tribute to the skill Museum. All Museum facilities are and artistic vision of women from wheelchair accessible. Canada to Burkina Faso.

At the Museum you'll see THE MUSEUM FOR TEXTILES AT CHESTNUT TEXTILES FROM INDONESIA: The Museum PARK holds an unsurpassed collection from Sumatra ( featuring the famous "Ship Project developer: Fred Braida Cloths"), Borneo (including Museum design: Max Allen spectacular beaded garments from the Architects: Thomas P. Kalman and Maloh and Kenyah people, and sacred Helen Obuchowicz pua from the Iban), Java Structural engineers: A.A. (brilliantly coloured batiks from Rottmann and Associates the north coast, together with the Mechanical engineers: Intron subtle and dignified batiks of the Engineering Corporation court capitals of central Java), Lighting: Salex Technical Products Sumba (the royal hinggi kombu), plus and Revel Luminaires other textiles from Roti, Sulawesi, Storage: Spacesaver Mobile Timor, Flores and Nusa Penida. Systems/Storage Plus TEXTILES FROM INDIA: From 18th century embroidered rumals through Simon Waegemaekers, Director the astonishing double-ikat silk Lynne Milgram. Contemporary Gallery patola cloths, to the embroidered Director garments of Gujarat. TEXTILES OF Barbara Hewitt, Education Director AFRICA: Stencilled and painted Christine Mustard, Collections indigo adire cloths, inmense robes Registrar of honour from the Hausa and Nupe Catherine Novick, Management people, strip-woven kente cloth from Coordinator Ghana, carpets from Morocco and Hilda Aliman, Chairman of the Board Tunisia, beadwork of the Ndebele, Zulu and Bushmen people of South For more information call Africa, plaited dance garments from Barbara Hewitt at 588-3292 or Simon the Ivory Coast. TEXTILES FROM Waegemaekers at 534-6044. CANADA: An encyclopedic collection of hooked rugs, with coverlets and early Ontario homespun patchwork quilts. TEXTILES FROM CHINA: From Xing Dynasty robes of the imperial court to the magical "tiger hats" worn by young boys to insure safety 4, and good fortune. ORIENTAL RUGS: Antique rugs from China and Tibet, from Turkey, from central Asia and Afghanistan, from the Caucasus area of the Soviet Union, from Turkestan and Persia...all are on display at the Museum for Textiles.

(A) Two royal horse face 2 Tree of Life on this loth century mun's waistcloth. woven from hand. spun cotton and pattemed by a complex tie.dyeing process called warp ikat: from ihe island of Sumba. Indonesia. 4

A SUMMARY ON THE RECOVERY were rinsed in a bath of distilled CONSERVATION AND ANALYSIS OF BURIAL water with minimum mechanical FINDS FROM THE SEPULTURE OF THE stress. Cleaning procedures were BAMBERG CATHEDRAL IN BAMBERG, concluded after a 4-month period. GERMANY

After examination and Bones from the Ossarium in the classification of more than 1000 garden of the Bamberg Cloisters were fragments, diagrams of patterns of temporarily buried in 1973; they a large number of fabrics were were to be relocated in a new reconstructed and weave analysis Ossarium in 1982. completed.

This kind of preventative The majority of the fabrics emergency measure was carried out by consisted of silk, however, some the Bavarian Historic Sites Depart- wool fabrics and a few fragments ment. A large number of woven made from linen were also found. fragments were found entangled Several brocaded silk fabrics have between skeleton parts as the bones a corrplementary weft, analyzed as had been repositioned several times gilt membrane on a cotton core. in the past. A rather unknown plant fibre was identified as the seedhair of the During the salvage operation the Asclepiadaceae. finds were first placed on trays measuring 30x40 cm and consecutively The patterns a large number of numbered. 148 trays were needed the 12th-13 th century fragments each holding 1-10 different textile were previously unknown. Also the fragments of varying degrees of weavepatterns showed interesting, state of preservation and dating new variations, for example Samite, from the 10th - 17th century. a weft faced compound weave as double face and Samite with a The moisture content of the complementary weft. large number of finds had to be kept constant until treatment could Art historical research was

commence. conducted by Dr. Leonie von Wilckens. The finds were exhibited Within a few days mildew had at Castle Seehof on the occasion of developed caused by the adhering the International Symposium and the soil and decomposition associated results published in: with burials. The finds were covered with sheets of tissue paper Textile Grabfunde aus der Sepultur sprayed with "Dodigen", a quarter- Des Bamberger Domkapitels. nary ammonia compound, stored at 4 - Internationales Kolloquium, Schloss 10'C and 60% RH, and checked on a Seehof, 22/23 April 1985, daily basis. Arbeitsheft 33, 1987 Bayerisches Landesamt fGr Denkmalpflege, Prior to cleaning the heavily Mnchen entangled fabrics, all fragments had to be examined under magnification Hannelore Hermann to determine their materials, fibre Chief Conservator, Textiles properties and degree of degrada- Bayerisches Landesamt fur tion. In most cases the adhering Denkmalpflege, Schloss Seehof clay, soil, sand and other dirt Bamberg, Germany 5

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KURZBERICHT OBER DIE BERGUNG, einzelnen, zum Teil stark KONSERVIERUNG UND WISSENSCHAFTLICHE verknulten Gewebe gereinigt BEARBEITUNG VON GRABFUNDEN AUS DER wurden, mussen sie unter dem SEPULTUR DES BAMBERGER DOMKAPITELS. Mikroskop auf Materialunterschiede, Faserbeschaffenheit und Aus dem Ossarium im Garten des Verschmutzungsgrad untersucht Bamberger Domkreuzganges waren 1973 werden. Bei den meisten stacken Gebeine provisorisch bestattet wurde die oft festhaftende lehmige worden. Im November 1982 sollten Erde, Sand und andere diese in ein neugebautes Ossarium Verschmutzungen in Wasserbdern mit umgebettet werden. Die Grabung, die geringster mechanischer als Notgrabung bezeichnet werden Beanspruchung weggespdit. muss, wurde vom Bayerischen Landesamt fGr Denkmalpflege Nach der Sichtung und Ordnung durchgefuhrt. Es fanden sich eine der dber 1000 Einzelfragmente grosse Menge Gewebefragmente, die konnten von einer grossen Anzahl zwischen den Skeletteilen stark der Gewebe die Muster zeichnerisch ineinander verhakt und verklemmt rekonstruiert, sowie Gewebeanalysen waren, da die Gebeine mehrfach erstellt werden. umgeschichtet worden waren. Die Mehrzahl der Gewebe ist aus Bei der Bergung wurden die Funde Seide, aber auch einige Wollgewebe zundchst auf Tabletts von 30 x 40 cm und sehr wenige Fragmente eines gelegt und fortlaufend numeriert. Leinengewebes wurden geborgen. Bei Es wurden 148 Tabletts mit je 1-10 einigen Seidenstoffen mit verschiedenen Gewebefragmenten lancierten und broschierten belegt, die sich in sehr Hautchengoldfaden konnten unterschiedlichem Erhaltungszustand Baumwollfaden als Seele, mit befanden und aus der Zeit des 10. - Sicherheit analysiert werden. Auch 17. Jahrhunderts stammten. eine bisher kaum bekannte Pflanzenfaser einer Pflanzenseide, Durch die grosse Anzahl der die aus Samenhaaren der Funde war die Konservierung sehr Asclepiadaceae gesponnen wurde, - schwierig, da die Feuchtigkeit der konnte bestimmt werden. Bergungssituation bis zur Konservierung erhalten werden Von den Gewebemustern des 12. - musste. 13. Jahrhunderts waren eine grosse Anzahl der Muster bisher nicht

Durch anhaftende Erde und die bekannt. Auch zur Webtechnik bei Grabfunden bedingte starke konnten mit einigen bisher Verun/reinigung, war nach wenigen unbekannten Variationen der Tagen schon Schimmelbefall zu Samitbindung, - Samit als double beobachten. Es wurden face und Samit mit einem Seidenpapierlagen mit Dodigen, - zustzlichen Unterschuss, eine quartidre Ammonium-verbindung, interessante, neue Erkenntnisse - besprilht und dber die Funde belegt werden. Die gebreitet. Die Funde wurden bei 44- wissenschaftlich kunsthistorische 10*C und 60% relativer Bearbeitung wurde von Frau Dr. Luftfeuchtigkeit gelagert und Leonie von Wilckens 4bernommen. tglich kontrolliert. Die Wdhrend eines internationalen Reinigungsarbeiten waren nach 4 Kolloquiums in Schloss Seehof Monaten abgeschlossen. Bevor die wurden die Funde vorgestellt und im 7

Arbeitsheft Nr. 33 des Bayerischen NEWS FROM THE CENTRE DE Landesamtes fur Denkmalpflege wurden CONSERVATION DU QUEBEC die Ergebnisse 1987 ver8ffentlicht. For the past several months at Textile Grabfunde aus der Sepultur the CCQ much of our time has been Des Bamberger Domkapitels. devoted to the conservation of Internationales Kolloquium, Schloss artifacts for the new Musee de la Seehof, 22/23 April 1985, civilisation in Quebec City. Arbeitsheft 33, 1987 Bayerisches Landesamt fdr Denkmalpflege, Mdnchen This museum which opened on October 19, 1988, had made several requests for conservation to Hannelore Herrmann respond to the needs of 10 new Leitende Textilrestauratorin exhibitions. The Textile Bayerisches Landesamt fur Laboratory was able to fulfill the Denkmalpflege, Schloss Seehof requests and complete the artifacts for the exhibitions: "Souffrir Bamberg, Germany pour etre belle", "Memoires" and "Toundra-Taiga". The items were mainly costumes and ethnographic textiles. Generally the artifacts were in good condition and needed only cleaning and/or consolidation. Mrs. Marthe Oliver came to assist us with a collection of porcelain dolls dressed in the habits of sixteen different religious congregations.

Along with that, we have been looking for new equipment for the expansion of the lab. Indeed, next spring CCQ is moving to a new building that has been specially designed for conservation. The space of the textile laboratory will be doubled, and it is planned to have a dry lab, wet lab and a separate lab for the dyeing of textiles. Our search was concentrated on dyeing equipment which we do not have in our present lab.

We were especially interested in three dyeing machines: The "Launder-ometer" from Atlas, the "Polymat" from Ahiba, and the' "Polycolur" from Benz Zeltrex.

The last one appears very interesting as it can hold as many 8 as 24 containers of 150 ml, but can NOUVELLES DU CENTRE DE CONSERVATION also be exchanged with a large DU QUEBEC container of 10,000 ml. It is distributed by Imtex in Montreal. Les dernier mois au Centre de For more information contact CCQ or conservation du Quebec ont ete the Imtex representative directly: consacres a restaurer de nombreux objets pour le Musee de la Mr. Ernesto Gardois civilisation a Quebec. Ce dernier, Sales Representative qui a ouvert ses portes le 19 IMTEX octobre 1988, avait fait plusieurs 373 Boulevard St. Croix demandes de restauration pour St. Laurent, Quebec repondre aux besoins de dix H4N 2L3 nouvelles expositions. L'atelier Tel: (514) 748-9661 de textiles a pu repondre aux demandes concernant les expositions From October 3-7, I had the "Souffrir pour etre belle", opportunity to attend a workshop "Memoires" et "Toundra-Taiga". Il given by Mr. Helmut Schweppe on the s'agit principalement de costumes identification of natural dyes in et de textiles ethnographiques. La historic textiles, at the plupart' des objets etaient en assez Conservation Analytical Laboratory bon etat general et necessitaient of the Smithsonian Institution. The un nettoyage et/ou une course was very interesting. The consolidation. Madame Marthe participants were able to assemble Olivier est venue apporter son for themselves a collection of aide. Elle a travaille sur une samples dyed with natural dyes and collection de poupees de porcelaine to learn how to make the chemical vetues de costumes de seize and chromotographic analysis to communautes religieuses identify the colour element in an differentes. historic textile. Parallelement, nous avons Two handbooks were published for recherche de nouveaux equipements this occasion: pour l'agrandissement des ateliers. En effet, le C.C.Q. demenage au Schweppe, Helmut - Practical Hints printemps prochain dans un nouvel on Dyeing with Natural Dyes edifice concu specialement pour les (Conservation Analytical Laboratory, besoins des restaurateurs. Smithsonian Institution, Washington, L'atelier de textiles doublera de D.C., 1988, 47p.) superficie et comportera un atelier sec, un atelier humide et un Schweppe, Helmut - Practical atelier pour la teinture. Les Information for the Identification recherches concernaient surtout of Dyes on Historic Textile l'equipement pour le laboratoire de Materials, (Conservation Analytical teinture qui est inexistant dans Laboratory, Smithsonian Institution, nos locaux actuels. Trois Washington, D.C., 1988, 3Op. appareils ont retenu notre attention pour les tests de Louise Lalonger teinture: le "Launderometer" de Textile Conservator Atlas, le "Polymat" de Ahiba et le Centre de conservation du Quebec "Polycolor" de Benz-Zeltex. Ce dernier nous parait tres interessant. Il peut contenir 9

jusqu'a 24 gobelets de 150 ml et il possede un tambour a teindre de 10,000 ml. Il est distribue par la compagnie Imtex a Montreal. Pour informations, vous pouvez communiquer au C.C.Q. ou directement au representant:

Monsieur Ernesto Gardois Representant des ventes Imtex 373, boul. Ste-Croix St-Laurent (Quebec) H4M 2L3 Tel: (514) 748-9661

Du 3 au 7 octobre dernier, j'ai eu la chance d'assister a l'atelier sur "L'identification des teintures naturelles sur les textiles historiques" donne par le Dr. Helmut Schweppe aux laboratoires du C.A.L., au Smithsonian Institution. Ce fut tres interessant: Les participants ont pu se constituer une collection d'echantillons de teintures naturelles et apprendre a faire les analyses chimiques et chromatographiques pour identifier la matiere colorante contenue sur un textile ancien. Deux documents ont ete imprimes pour l'occasion:

f Schweppe, Helmut, Practical Hints 47% on Dyeing with Natural Dyes, ini b Conservation Analytical Laboratory, Smithsonian Institution, Washington, D.C., 1988, 47p.

Schweppe, Helmut, Practical Information for the Identification of Dyes on Historic Textile Materials, Conservation Analytical Laboratory, Smithsonian Institution, Washington, D.C., 1988, 3Op.

Louise Lalonger M Restauratrice de textiles Centre de conservation du Quebec

The Dyer (Diderot's Encyclopedia) 10

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A fashionable fur shop of che eighseen century, (Dideroc's Encyclopedia.)

FUR STORAGE AT THE PROVINCIAL All artifacts are currently MUSEUM OF ALBERTA being fumigated with ethylene oxygen gas as they enter the This past year the storage for building to control insects. There the fur collection was revised is no cold storage facility in the after consultation with several building and there are no plans at Edmonton furriers and a this time for one. The revised representative of the Hudson Bay storage system was designed to make Company, Raw Fur Division. The use of existing metal cabinets and general consensus was that hanging open redirack shelving. furs in a cold storage unit reduced the possibility of damage from It was decided to hang all the insects or hair loss and breakage fur coats and capes. Wooden coat from crushed furs. hangers were reinforced by cardboard tubes placed over the

The collection, which includes arms. The tubes were covered with coats, muffs, stoles and blankets, mylar to prevent acid migration and had previously been stored lying then well padded with unbonded flat in wood drawers lined and polyester batt. A cotton muslin covered with unbleached cotton cover was sewn over the entire muslin. The furs were being hanger. This provided strong crushed and access to individual support in the shoulder area of the artifacts was difficult. coats. Sleeves were padded out with acid-free tissue. The garments were hung on a horizontal 11 metal chain stretched between the to fit the crown with a padded base end supports of the shelving. The for the brim or by a soft sculpture garments were spaced to allow air shape made of batting covered with circulation. A dust cover of muslin. The hats were stored with unbleached cotton muslin was the hat collection on open shelving stapled over the shelving and with dust covers. fastened at the bottom with velcro. Fur mitts presented a problem Muffs and stoles were stored in in that there usually was fur on metal cabinets. The cabinets are both sides of the mitt and custom made ahd have non-adjustable therefore they could not be placed slots for drawers and a dust-proof flat in a drawer. It was decided seal on the doors. A wooden dowel to mount them upright in a cabinet. was cut to fit inside the cabinet A flat form of coroplast was cut to and wrapped with several layers of the inner shape of the mitt and was ethafoam sheeting. This was in padded and covered with cotton turn covered with cotton tubing. The form extended for stockinette tubing. The muffs and about three to four inches below stoles were hung on the dowels, the cuff and this section was approximately three per dowel and fitted into a corresponding slot in then placed in a staggered position a sheet of two-inch thick within the cabinet. This allowed ethafoam. us to maximize the space used, to adjust for different lengths among The entire collection has been the artifacts and to allow ease of catalogued and a black and white access. The only problem documentary photograph of each encountered so far is that the artifact has been taken. dowels have a tendency to roll and Researchers will have access to the to slide out of their slots. photos and the cataloguing information and then requested Fragile artifacts that could artifacts can be examined. This not be hung or small artifacts such will allow for minimal handling of as collars were placed flat in the artifacts and will eventually wooden trays lined with ethafoam be the standard procedure for the and acid-free tissue. The drawers entire clothing and textile were not covered with muslin as is collection. the usual procedure for textiles, as the muslin would crush the furs. Gladys Serafino Provincial Museum of Alberta Fur blankets and rugs were stored flat on the bottom of a shelf and were covered with muslin or acid-free tissue. This is not ideal but at the present time there is not enough room to give each piece its own shelf space. Future storage will hopefully include adequate space for these pieces.

Hats were mounted on individual supports. The supports were made by either carving an ethafoam block 12

CONSERVATION OF TWO NORTH WEST The mats are stored under COAST INDIAN WOVEN MATS controlled conditions on shelves between sheets of heavy acid-free In the collection of the UBC paper. When moving mats to the Museum of Anthropology there are 19 work area they are slipped into North West Coast Indian woven cedar full-size rigid polyethylene- bark mats which sometime in their covered cardboard folders. Similar history had been repaired with folders will be used for permanent tape. This report describes the storage as these give good support. problems encountered with two specific mats and details of the After detailed condition work done on them. reports were made, photographs were taken. Colour slides seemed to

The first mat, #A7278 is 204 cm give the best results. See photos long and 54.5 cm wide. It has a 1 & 2 -- showing details of the checker border, woven with cedar centre break and edge loss. strips dyed red and black. On one side there are large red, green and The first problem dealt with black paintings of a whale and a was the removal of the tape. Four Thunderbird, done over the weaving. solvents were tested on the border This mat· had split into 3 separate colours for colour fastness and pieces with all broken edges curled ease of tape removal.

UP. On the reverse side there were 7 strips of brown cloth-covered tape from edge to edge.

The second mat, #A3532 is 178.5 cm long and 99.1 cm wide. It has a red, black and brown checker border pattern. The centre fold had been reinforced across the width of the mat with grey duct tape. The lengthwise fold was weakened and torn. There were 2 areas of edge loss approximately 16.5 cm x 2 cm and 12 cm x 2 cm.

Solvent: Mac Colour Tape Colour Ease of Tape Removal Red Black

1 . Acetone fast soluble Rood

12 Benzine soluble soluble poor 2 parts-- Petroleum Ether 1 part-- Mineral spirits 3. Amyl-acetate & very soluble acetone 50/50 4. Xylene fast soluble Poor 13

Acetone was chosen as the best paste. This is a "low-tech" agent for tape removal; the black solution which is applicable to borders were treated with care. many museums as it does not require The tape was removed using forceps any specialized equipment. Tests and cotton swabs using an "elephant were carried out in three areas: trunk" extraction system to remove colour; type of paper; and fumes. adhesive. Colour: combination of Windsor and Newton water colours -- After tape removal the curled raw umber, yellow ochre, burnt edges of #A7278 were flattened. umber, and raw sienna were tested. The edges of the mat were dampened A 50/50 mixture (approximately) of with water vapour using an raw umber and burnt umber provided ultrasonic humidifier. This was the best colour match. not satisfactory as the areas of the mat were moistened unevenly. The colour was tested on 2 different Japanese papers: The edges of the mat was then Kitakata; and Kizukishi; and also placed between two pieces of damp on St. Armand Hemp Tea Bag paper. blotter and weighted with a Each paper was tested with two plexiglas sheet. However, contact adhesives: wheat starch paste; and with the damp blotters for 1/2 hour 5% CMC (carboxy methyl cellulose). showed the paint solubilized A combination of St. Armand Hemp slightly. Tea Bag paper with wheat starch paste was easiest to apply, dried The following method proved to a good matte appearance, and was satisfactory. A tent was made with quite strong. a wooden dowel frame, covered with plastic. The mat was placed inside The painted paper was torn into on a wooden frame covered with lengthwise strips approximately 1.5 Reemay. The humidity was raised to cm and 2.5 cm wide. With the mat 85% using the ultrasonic humidifier face down the narrow strips were for one hour. The mat became pasted over the breaks and allowed pliable and was then placed between to dry. The wider strips were layers of dry blotter, weighted pasted over for added strength. with plexiglas sheets. The blotters were changed after 15 to For mat #A3532 there was an 45 minutes to remove the moisture additional problem of edge loss. A from the mat. heavier weight Japanese paper, Kiritsubo-C52, was chosen for the The repair of the mats is being infill. This paper is similar in carried out in order to stabilize thickness to the cedar strips. It broken areas and to prevent further was coloured with the raw deterioration. According to umber/burnt umber mixture. A piece standard Museum practice these of the paper, cut to match the edge repairs are entirely reversible loss, was held in place with 0.5 cm while maintaining the integrity of strips of St. Armand Hemp Tea Bag the artifact. paper pasted horizontally and vertically to echo the pattern of It was decided to reinforce and the mat weave. See photo »3 of the support broken or cracked areas finished edge. where the tape had been with Japanese paper and water soluble 14

In conclusion, it was found that each mat presents its own particular problems. However the general treatment as outlined for these two mats A7278 and A3532 will be followed with the remainder of Joan Stager the mats and should provide a well Pat Cooper Volunteer Associates of the UBC stabilized collection. The methods used can also be adapted for other Museum of Anthropology similar materials.

1&2 details of the centre back and edge loss. 15

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3&4 finished edge and centre

'L/ 16

ARCHAEOLOGICAL HAT sheep. These bands were used as indicators as to when the brim and In 1982 the remnants of 3 hats crown were in the appropriate were excavated at York Factory, a place. Hudson's Bay post 60 miles south east of Churchill, at the mouth of Some of the pieces that were no the Hayes River on the Hudson Bay. longer attached to the hat were Two were conserved relatively allowed to soak longer than the hat quickly resulting in top hats with itself. These turned black as fairly narrow turned up brims. The additional soil was lost, the third remained wrapped in Reynolds majority of the hat has a peaty Wrap and then plastic bagged and brown colouring that most of the left in a deep freeze until other textiles from this site show. Christmas of '87. It was a project The loose pieces were repositioned for when life was to be quiet in the brim and crown and held in without too many interruptions. place using cr@peline coated with Mowlith DMS and DMC2 on the bottom. Work progressed well and Some infilling was done with a swiftly. Once thawed, the sodden brown velvet. Unfortunately the mass easily gave up surface dirt crapeline did not give enough and extra pieces that could be support for the brim to support picked up by hand and sorted. itself and we had hoped to be able Sliding your hand into the mass you to display it on a hat stand. A could feel larger roots to cut with second layer of crepeline was added a scalpel. The rootlets broke as to the top of the brim over the the hand passed by. broken areas. The hat will now hold its shape for short periods of The hat was then gently rinsed time but it is not strong enough to in running water. Once the fibre withstand display, without a more loss became too great the hat was complicated mounting system. removed and slid over a coffee tin

covered with a pad of ethafoam. As Instead the hat has been stored the hat dried it became very hard. so it can be safely studied. Sections of the hat were then Inside the crown is an ethafoam sprayed with deionized water so it support covered with brown wool. would soften and could be reshaped Into this the end of a hat stand is until what is thought to be the fitted. The hat stand is hinged so original shape was obtained. The it can be bent, allowing top of the crown is 7 x 6.5", the examination of the interior of the base of the crown 8 x 6.5". The hat without handling the hat. A U- sides vary in height from 6 to shaped block of ethafoam slides 6.5". The brim is approximately under the hat and around the hat 3.5" wide. and stand to support the brim. The hat, hat stand, and block of The inner and outer hat bands, ethafoam slide together into its although no longer in existence, own box. had protected the hat, leaving a long, soft, almost downy fur that In attempting to date the hat, would once have covered the hat. we know that the building of York Microscopic examination showed the Factory in this location was long fibres to be beaver. Other started in 1788. The fur storage fibres examined from the hat were building being excavated was built 17 in 1821. The hat was located near The hat is now located at the bottom of a pit. Because of Archaeology, Canadian Parks the wide brim I am guessing the hat Services, Prairie Region, Winnipeg dates c. 1805, but I would in a humidity controlled appreciate ·insight from others on environment. dating it. The brim of this hat appears to have been roughly cut, Lorrie Storr possibly as the edges broke. There HRC, Canadian Parks Services is evidence of an old mend on one Prairie Region of the other hats. This may be an indication that these were treasured and not discarded lightly.

\2

4

2 3 \21

- Holes

1 - Infilled areas

03 - Original material # Hat stand 18

in the cracks of the mallet head; cotton garments stored in contact with woolen items were discovered with live larvae in the folds. Because of the thoroughness of the infestation, artifacts known to contain proteinaceous material not easy to examine, were also wrapped in plastic. This included many awkward and large items, from feather-filled pillows and bed- covers, to horse-hair stuffed lounges. As much air as possible was removed from the plastic packages before sealing to reduce the risk of RH changes during freezing and thawing. Any non -absorbent items (such as brass handles of horse-hair fire place brushes) were wrapped in tissue before being wrapped in plastic so there would be no problems should condensation occur. The wrapped artifacts were taken to a local

cold storage company where they were frozen to -18 - -20 C. At the R.B.C. Museum, infested

artifacts are frozen for 48 hours.

Because of the density of the material it was decided to leave the Pt. Ellice material frozen for a week. However, for one reason or another some artifacts were then removed to "cold storage" for slow thawing before returning to the site. There appears to have been no ill effects suffered by any of the artifacts during this treatment. Items of special "OPERATION MOTH" concern included marquetry surfaces on upholstered furniture, wax Eradication of moths at Pt. dolls' heads, a mirror in a fabric Ellice House (see: RBCM " Current covered frame. All emerged Projects" TCN Fall 1987) appears to unscathed and moth-free. have been successful. All artifacts with any evidence of Before the return of the insect infestation (live adults or disinfected material, all remaining larvae, frass, casing) were sealed artifacts were thoroughly vacuumed. in plastic. This included many The floors of the rooms are wood, unlikely items - croquet mallets tongue and groove, most of which that had been standing on a woollen are no longer very tight. As the carpet were found to have casings carpets had all been badly 19 infested, the gaps between the despite the fact that the area was floorboards were carefully scraped cleared of artifacts, none of which and vacuumed and a residual were to return. insecticide powder (Sevin) was applied. Sevin was also used The entire project, which inside the two pianos, the felts of included an inventory to ensure which had been badly damaged. All that the rooms were reassembled as frozen items were thoroughly found, took approximately five vacuumed so that a zero level of people, six months. While the insect evidence was reached. Any project was overseen by a moth debris found in the future conservator, those doing the bulk will be an indication of a new of the work also had to have infestation. considerable skill. They handled artifacts constantly and made Traps have been installed in decisions about packing and each room to monitor the presence logistics, as the house was open to of insects. These consist of a tours during a great part of the night light from which a 3" x 5" time. There was no easier nor sticky panel is suspended. Adult cheaper alternative, however, moths are attracted to the lights chemical solutions being either (which burn constantly) and are unsuited to the density of the caught in the panel. (The sticky collection, or harmful to the panels are available from: artifact materials. "Operation Moth" was a very expensive solution Applied Bio-Nomics Ltd. to a problem resulting basically 20-8801 East Saanich Road from neglect (and that does not Sidney, B.C. include conservation of the many VSL 1H3 damaged artifacts). Budgeting time and personnel for routine While these traps could not be inspections and cleaning over the counted on to control a population, past thirteen years would have the monitoring has allowed problem proved much less costly, and areas to be pinpointed immediately. certainly less disruptive. One room produced four moths during Although there is not a great the time the room was empty, after likelihood of reinfestation as the it had been cleaned. A detailed collections are static (material is inspection revealed that the globe rarely loaned and virtually never of the light fixture had not been acquired), a site which opens its cleaned and contained many dead doors to fresh air and tourists all flies, possible sources of protein summer is in some danger of insect for moth larvae to feed on. Once infestation. The sticky traps will the lamp was emptied and washed, no now be maintained year round and a further moths were captured. The maintenance schedule is being room was left closed for a month, written. Hopefully these ounces of with the heat turned up, to prevention will preclude any future facilitate the hatching and need for such a tedious and pupation of any eggs that might painstaking pound of cure. have been laid by the captured moths before they found the traps. In the Colleen Wilson attic the vast numbers of moths that Conservation Services were caught provided an impetus to Royal British Columbia Museum hire staff for a thorough cleaning, 20

"QUILT TOP BACKING PROJECT" of the guilt to be laid flat on the centre portion of the table with A week long contract at the each end to be rolled onto large Glenbow Museum in June, 1988 was sono tubes. arranged in order to back a large (300 x 350 cm) guilt top for a Velcro was chosen to attach the temporary exhibition. guilt top onto the sonar tube. First of all the hook portion of Due to the fragility of the the velcro was sewn to a sleeve guilt top it was apparent that the extension made from cotton muslin entire textile would require backing which covered the sono tube. Next onto a lightweight desized cotton the fuzzy portion of the velcro was fabric. As the guilt top was far sewn onto the 10 cm extension of too fragile to be hung the backing the backing fabric. The velcro was was done to ensure that the guilt not stitched to the guilt top in top would not be damaged during any way. Rather than hand sewing display in a horizontal position the velcro onto the backing, which and subsequent handling and would have been quite time storage. In order to back the consuming as well as not being very guilt top without causing too much strong, a hospital bed table on strain on the fabric the stitching wheels was used as a sewing was done following the design lines machine table and was lowered to of the guilt working from the the exact height of the table which inside out toward the perimetre. the guilt top was on. Then very carefully, using one person at the A cotton thread of a sewing machine and another guiding sympathetic colour was used and a the table, the sewing machine was running stitch which had a back pushed backwards through the fabric stitch at the beginning and end of as the velcro was machine sewn on. the thread was used. The backing proceeded very normally with very This rather peculiar method of little problems. A few patches sewing with a machine was very were added in areas where the guilt useful in this situation as it top had been torn or ripped. The enabled the velcro to be sewn onto patches being placed under the torn the backing fabric by machine after area and self laid couching "span" the quilt was hand sewn onto the stitches used to secure the fragile backing. There was absolutely no textile to the patch. strain placed on the quilt top as it remained very flat and totally The backing was deliberately supported during the whole measured so that it would be at exercise. least 10 cm longer than the guilt top in order to allow some Ideally it is preferable to flexibility of movement between the machine sew velcro onto backing guilt and backing during the fabrics before the conservation is backing process. The guilt top, carried out, in cases where this which was to be displayed on a may not be possible the method custom built table resembling a described is highly recommended. quilter's frame, required a mounting device to secure the quilt top to the frame. The design of the frame allowed for the majority 21

My thanks to Scot Bullick, conservation. The Instituto Conservation Technician, Glenbow Centrale del Restauro (?) lab was Museum for his assistance in considered unsafe and therefore had operating the hospital bed table no equipment in it. When I visited while the velcro was sewn on by there were only two conservators machine. with limited training doing textile work. What they had done showed Gail Niinimaa considerable influence of Chris Free Lance Textile Conservator Paulocik's work experience exchange visit in 1986.

A TRIP AROUND THE WORLD The Vatican conservation lab has a tapestry section. During my trip around the world, Unfortunately, the section was not which included a 4 1/2 month stay in open on the day our ICCROM class Rome for the Scientific Principles visited. This seemed to reflect an of Conservation course at ICCROM, I attitude of indifference on the started to get a feel for the part of those responsible for our textile conservation scene visit, but apparently they rely on internationally. Apart from my traditional re-weaving techniques. studies in Rome the trip was A tapestry restoration workshop in essentially for pleasure which on Florence also uses the traditional several occasions turned into re-weaving technique to produce new adventure. looking tapestries. I spent an afternoon listening to a tapestry In a general sense, I came back historian decry what was happening with the feeling that while not to the historical integrity of exactly at the forefront we were, tapestries exposed to these nevertheless, among the front- techniques. runners. Nowhere have I found a program comparable to the degree I also met a private tapestry program at the University of Alberta conservator, Claudia Kusch, who where a thorough knowledge of trained at the Abegg Stiftung, chemistry and textile science Switzerland. She appeared to keep precedes conservation theory and herself fully employed and rather course work and an internship than have her own workshop, set up completes the program, although I a workshop at the location of each understand there is a possibility of contract. That is, she went to the a similar program being developed in tapestries rather than the Norway. tapestries coming to her. Last year she was in Ancona and I never My stop in England was for did find the time to visit, but visiting my family, so I did not during our conversations she have the opportunity to see if indicated a more modern things had changed there. conservation approach to stabilization using stitching Italy amazed me in that it was techniques. only just beginning to recognize textiles as a specialty. Even Moving eastward my next "port attached to ICCROM I found it of call" was Islamabad, Pakistan difficult to find out much of what where they had never heard of was going on in textile textile conservation. Their 22 ethnographic museum held some STORAGE OF CHRISTMAS TREE ORNAMENTS beautiful textiles but there were neither environmental controls nor The storage of Christmas Tree proper display techniques. This ornaments presented an interesting country has rich cultural heritage problem. Ornaments are difficult in the textile medium that will be to store as they are often fragile, lost without an awareness of come in assorted shapes and sizes, conservation in the future. It was and are usually covered with a a wonderful experience to drive glitter that rubs off easily. into the Northwest Frontier and the Khyber Pass and see the women and We considered cutting children (no photos allowed) in individual nests for each ornament their traditional clothing living as in a thick sheet of ethafoam. This they had for centuries. was rejected because the ethafoam has a rough surface and removing My passage through India did not the ornament from its nest would allow any time for museum visits. rub off the glitter. Plus, this Dealing with the vagaries of Indian method would be too time consuming. Airlines, "spaced out" taxi drivers and a rioting pdpulation eliminated We decided to try a soft my free time in Delhi and Bombay. storage holder. The first attempt In fact I was extremely lucky to was a bag of crepeline containing catch my flight to Australia and not polystrene beads. As the beads get trapped in an outrageously were very lightweight they shifted expensive hotel for the next several too easily and did not fully days. support the ornament. Even when the beads were packed tightly into In Australia I visited the the bag they would not hold a textile conservation lab of the definite shape around the ornament. Australian War Memorial in Canberra and found it quite similar to labs After much experimenting we in Canada (except it was the middle decided to use prewashed unbleached of winter and the weather was very cotton muslin pockets. We pressed pleasant). From the limited two-inch inverted pleats into the information I obtained it seemed the muslin, creating a series of Conservation Program in Canberra was expandable four-inch wide pockets. similar to the one at Sir Sanford Six pockets were made across the Fleming College. The textile width of the sheet. A double layer conservation component was taught by of unbonded polyester batt was sewn Jocelyn Carter of the Australian to the underside as a cushion. The National Gallery. ornaments were placed in the pockets which were tacked loosely For the remainder of my trip I between the artifacts to prevent relaxed with a week of sailing off shifting. When removing an the coast of Queensland, an ornament the threads are clipped to abbreviated stay in Fiji and a week fully expand the pocket. of pure idleness of reading and sitting in the sun in California - while a tornado raged in Edmonton.

Doreen Rockliff, Provincial Museum of Alberta, Edmonton 23

This method takes about twenty PRELIMINARY TREATMENT OF A 16TH minutes to make each storage sheet CENTURY TAPESTRY and can be made to hold any size of ornament by simply making the The Textile Lab at CCI has inverted pleats wider or narrower. recently begun treatment on the second of a series of five Gladys Serafino tapestries belonging to the Provincial Museum of Alberta Winnipeg Art Gallery. As previously reported to TCN (February 1983, p. 8), these are early 16th century Flemish tapestries probably designed by Renaissance painter, Bernard Van Orley.

The series depicts the old world story of Tobit and Tobias with this second tapestry illustrating "Tobit Giving the Note-of-Hand of Gabael to Tobias and Raphael". Measuring 352 x 354 cm this tapestry was probably once cut to fit a smaller wall as both side borders and part of the bottom border are missing. The five tapestries furnished a bedroom chamber in Bisham Abbey, once a residence of King Henry VIII.

Like the others in the set, the tapestry was repaired in 1904 by Ms. L. Chart of England. These repairs consisted of a blue wool border machine stitched along the edges and may have also included the existing over embroidery through a linen backing covered by a burlap lining. Slits were made m -et-1,/14/3. throughout this lining probably in an attempt to relieve stress.

Tension from hanging was apparent, too, by the weakened wefts in several areas. Typical of many European tapestries, the warps -4 -i 10 run horizontally leaving an enormous weight to be carried by the weaker wefts. Several areas of silk wefts were brittle or missing due to this stress coupled with

The Tasescry Weaver (Diderot 3 Encyclopedia) silk's inherent vulnerability to light damage. Most of the limited 24

damage to the wool weft threads tapestry had been successfully were in dark brown areas where the washed with water and detergent, dye's iron mordant had weakened the this was used to test the second

fibers. Slits appeared throughout one. The tapestry was divided into the tapestry in areas where the a grid of 49 squares by twelve wearer changed the colour of the pieces of string - 6 placed wefts, usually these were sewn vertically 20" apart and 6 placed closed by whipstitching. However horizontally 20" apart. Each many of the sewing stitches broke square was numbered and assigned a apart over time, leaving gaping piece of chromatography paper onto holes. which were placed very small pieces of each shade of yarn cut from the Before treatment, the tapestry back. Then, each square's group of was photographed from both sides yarns was immersed in a beaker of with several shots of details. sample wash water (lukewarm tap Diagrams of all weak areas and water and 0.2% WA Paste), and previous repairs were drawn on blotted between chromatography mylar overlays using a B&W paper under weights over night. photograph of the tapestry to later Only one dye from the hundreds help the conservator locate the tested appeared to have run. This damage. fugitive dye was probably from a repair yarn but did not bleed The preliminary treatment during further tests. involved preparing the tapestry for cleaning. The burlap lining had The tapestry was washed been previously removed leaving the successfully with a noticeable narrow blue border to be unpicked improvement in its colours and and the backing to be clipped away hand. As the lab's wash table was around embroidered repairs. These too small, a wash-frame was repairs were left to keep the woven constructed in the loading dock structure together until after from wooden 2'x4' 's covered by a cleaning when they would be fibreglas reinforced polyethylene replaced by reweaving. Due to the sheet. Details of the washing tapestry's size, unpicking the blue process and treatment will appear border and clipping the backing were in a later article. Further time consuming processes. Next, the treatment will involve attaching unravelling edges of the tapestry the tapestry to a tapestry repair were whipstitched and, once loom and reweaving weak areas with vacuumed, further supported by matching wool or silk. Slits, binding with wide cotton strips. where appropriate, will be stitched This reinforced the edges for closed. A complete lining will be handling. Finally, all weak or attached along 3 sides with velcro missing areas were patched at the top edge to allow the temporarily with cotton on both tapestry to be hung. sides of the tapestry and any major slits were closed temporarily by Audrey Yardley-Jones whipstitching. Textile Intern Canadian Conservation Institute The choice of an appropriate cleaning method depended on the colour fastness of the dyes to various solvents. As the first 25

NEWS UPDATE FROM CMC However, additions and a few changes have been required, as can The deluge of requests for the be expected. For the Textiles Lab treatment of artifacts, for display this new work represents about at the new museum, is upon us. fifteen Chinese costumes (mostly Although we have been working silk and metallic thread steadily over the past few years on embroidered silk robes and jackets) lists submitted fairly early on, by and about twenty-five flat textiles some project teams, we have just (various sizes of painted cotton this past week (early December) banners, and embroidered silk received those outstanding. hangings). Some of these are in Consultations, condition reports, excellent condition, while others time estimates, and further will be a challenge to treat even consultations are being squeezed in a "first-aid" manner. I into a heavy workload of requested that alternate pieces for treatments. these latter textiles be considered, but the Curator Scheduled to be ready concerned has stated that these are concurrent to the opening of the unique pieces, and important to the museum (.besides the hi-tech exhibit. So, we'll of course do components), are the Grand Hall, our best to make them "safe" for History Hall, Ethnic Hall and handling and exhibit. Special Exhibits Hall. A gala event has been announced for June February and March will be our 22nd, with the Official Opening heaviest time for the preparation Ceremonies following on June 29th. of artifacts for other exhibits, as installations will have to begin in Our Division is concentrating April. on artifacts for the Chinese Canadians Exhibit (described in Julie Hughes previous submissions) by the end of Textile Conservator January. We have had a list for Canadian Museum of Civilization this exhibit for some time now.

4%

Chinese shoes (embroiderd silk)

from the colleccion of CMC. Drawings by J.Vuort 26

UNIVERSITY COLLECTIONS CENTRE REPORTS ON CONFERENCES, MEETINGS, ALBERTA COURSES......

The University of Alberta is Pests; Their Biology, Control and pleased to announce the Prevention construction of a University Collections Centre to open in 1990. A Smithsonian Institution The $12 million building will be Symposium, featuring Dr. Gary phase one of a long term proposal Alpert, entomologist, Harvard to meet the collections needs of University, Cambridge, Mass., the University. November 12, 1988. (Tel. 617-495- 1983) Included in the building will be exhibition, storage, I. Integrated Pest Management (IPM) conservation, public programming and other service needs for A. IPM should not include routine university collections. spraying by contracted pest control companies. This is Among the major collections to because the spraying leaves · be housed in the new facilities behind an insoluble film will be that of the Department of residue. Clothing and Textiles which includes textiles and costumes from B. Sticky traps are good for the a wide range of time periods and initial survey; they let you cultures. Some of the major see how bad your problem really holdings include 19th and 20th is. century fashionable dress, Guatemalan textiles, Peruvian Two specific brands were Textiles and Indonesian textiles. recommended: The textile conservation

laboratories and services will also 1. PROTOS: available from Protos be moved into the new centre. The Corp., P.O. Box 2236, University of Alberta has one of Cambridge, Mass., 02238. This the few departments of clothing and product is effective for textiles in Canada and is the only approximately 1 year, and costs one to offer undergraduate and approximately 50 cents. graduate programmes in both museum curatorship and conservation. The 2. Mr. Sticky: available from Curator of the Department of Fumigation Service and Supply, Clothing and Textiles is Anne M. Inc., 10505 No. College Ave., Lambert. Indianapolis, IN. 46280.

C. Caulking and sealing holes in walls and around windows and doors is a very basic component of integrated pest management. It can eliminate some major problems, such as mice entering the building.

D. The basic aim of IPM is to reduce the bio-mass of pests 27

within a facility. This pellets; they especially like includes dead insects whose to eat soiled wool; take three bodies attract more insects, weeks to hatch normally, but who feed on them. Even support have been known to take from 2- areas within a facility can be 4 years; the larvae resemble heavily infested. caterpillars; NOTE: while in the pupal case, they can't be II. Types of Pests Damaging killed by insecticides. Valuables: 2. Casemaking clothes moths: A. Dermestid beetles: black are not as common as the carpet, varied carpet, the odd webbing moths; have 3 dark beetle, funiture beetle. common spots on their wings; their carpet beetle. head hairs are grey and white; they make a silken case within B. Moths: this includes which hides the larvae; NOTE: casemaking clothes moths and the case is usually the same webbing clothes moths. color as the substrate.

C. Others: larder beetles, mice, Carpet Beetles: silverfish, termites,

cockroaches, crickets, and 1. Black carpet beetles: are firebrats. usually dark brown to black all over; they have a long oval All the above insects have very egg; they can go without food complex lifecycles, with the if none present, and can molt following stages: up to eleven times before hatching, eating substrate with 1. egg stage: this stage is each molt; the larvae is usually invisible to the naked elongated and furry, and human eye. orangish in color.

2. larval stage: this is when 2. Common carpet beetle: has a most damage is done, because life cycle of 2-3 months; has the larva is eating in order to an orangish stripe down its grow to the next stage. center back.

3. transition (pupal) stage: a 3. Furniture carpet beetle: is resting stage, within a cocoon. varied colors on top, and white underneath; the adults live 4. adult stage: pests don't eat outside, where they feed on valuables at this stage, but flowers and other vegetal are dangerous because they are materials; are apt to fly reproducing. inside to lay eggs, or are brought inside on cut flowers Clothes moths include casemaking, or potted plants; their larvae webbing and tapestry moths. are very hairy, and 4-5mm long; each hair has an arrow-like 1. Webbing clothes moths: tip, which when found in dust are recognizable by their can be especially harmful to feathered wing tips, russet- people with allergies; (water- colored head, and round fecal filtered vacuum cleaners can be 28

very helpful to people with $20,000/application; NOTE: allergies to dust). needs a second treatment to kill eggs present.

4. Varied carpet beetles: are red, black and white banded on 2. Other less expensive choices exterior; have 2-3mm long than fumigation: a. Dichlorvos larvae, wider at their strips (Vapona): used posterior; adults feed on properly, (which excludes flowers. cutting strips into smaller pieces) these shouldn't present 5. The odd beetle: larvae have a health hazard. b. PDB (para- bristles all over, and curl up dichloro-benzene): works best when disturbed; they can crawl when in an airtight container; quickly away; only adult males is not harmful to humans unless have wings to fly away; can used in very high crawl across an entire room in concentrations; then can cause one day; they leave nothing liver damage; is active behind except a very fine ingredient in moth crystals. frass.

3. Temperature: both heat and III. Audience supplied list of cold treatments are being items damaged by pests: considered. (See related anything with a woollen article on this topic by Mary component, including piano Lou Florian). felt, upholsteries, embroideries and crewels, 1. Freezing: is effective if upholstery stuffing, animal there is a rapid drop to below glues used in furniture joints, freezing; if you suspect an

paper, feathers and leather, infestation, place the item silk, basketry, blood, tortoise inside a polyethylene bag of at shell and horn items, horsehair least 4mils thickness; watch items. for signs of the pests; when noticed, place the item in the IV. To Control Pests: freezer for 2-3 days if wooden, 2 days if textile; remove item 1. Fumigants: from freezer and bag, vacuum a. don't use anything off; place in new PE bag, and containing methyl bromide. watch for new signs of b. ethylene oxide is still used infestation; within 3 weeks, if in Vacudyne chambers, but is pests are still alive, they a suspected carcinogen; it will hatch. makes certain items more

prone to mould growth after b. Heat (microwaving): process treatment. causes pests to explode, with c. Vikane: (sulfuryl the remains flying all over the fluoride): is very valuable object; this also effective on termites, but causes accelerated aging of the also lethal; need to have item, and definitely can't be temperature in the vicinity used if any metal components of 75 F, with fans to spread are present. the fumes to all parts of a facility; runs about 29

4. Dry Cleaning: Due to the high Professional Development Day for temperature and solvents used, Textile Conservators, Curators and this will kill an infestation Scientists at the Canadian on a textile. Conservation Institute November 15, 1988 5. Cedar chests: Believed to release cedar oils, which it This was the second annual was said repelled moths. professional development day held Today, these chests are by the Textile Section of CCI. The impregnated with insecticides, day provided a forum for eight and are effective for about 1 textile curators, five scientists year. This is effective on and seventeen conservators from adults and larvae, but not to arious Canadian institutions to the eggs. exchange ideas and discuss common concerns. The guest lecture this 6. Ultra-sonics: are said to be year was Sheila Landi, Chief effective repellents, until one Conservation Officer at the knows that insects are Victoria and Albert Museum in frequency-dead; will respond to London, England. pulses, but not to sound. The agenda of the day covered 7. Colored lights: Yellow lights two lectures by Sheila Landi. In will repel pests; white lights the morning she talked about "The and bug "zappers" could be Treatment of Oversized and Odd- placed away from the entrances Shaped Objects". She illustrated to buildings to attract bugs her talk with case histories from away from doorways. her many years of experience. She described treatment of several 8. Pheromones: (synthetic sex artifacts ranging from a theatrical hormones) are effective if curtain, the Ardabil carpet, a specific to the beetle or moth 17th-6entury tent, to the tester doing the damage, and only work roof of a state bed. The main on the adult males, not larvae point of her lecture was the or pupae. importance of planning such treatments. Michele P. Pagan Collections Manager A conservator has to have the Interior Design and Furnishings ability to invent ways of handling Branch difficult objects and to design United States, Dept. of State purpose-built equipment. For this Washington, D.C. she felt a strong basic knowledge of mechanical engineering and physics was necessary.

In the afternoon Sheila Landi lectured on "The Making of a Textile Conservator, an Historic Perspective"..

She talked about the dangers of learning theory and practice in separate compartments. She 30 recommends that textile Richard Nylander, Curator of conservators first learn a skill Collections for the Society for the connected with textiles (e.g. Preservation of New England weaving, fashion design, etc.) and Antiquities and the author of then build on it with theoretical Wallpapers for Historic Buildings scientific knowledge. A textile (Preservation Press, 1983) spoke on conservator should identify with "The Upholstery at Codman House: A the textile as an object, not as a Case Study". Using surviving starting point for scientific bills, furnishings, and examinations. photographs, Mr. Nylander gave an excellent overview of the interior Both lectures were followed by decoration and how its upholstered an open forum discussion. Related furniture was outfitted to reflect problems were presented by changing fashions. conservators, curators or scientists and solutions were Arlene Palmer Schwind and Laura sought through group discussions. Fecych Sprague gave a talk on the Morse-Libby House, a Luxury Hotel Ela Keyserlingk in Portland, Maine "A Hotel Man in Canadian Conservation Institute Domestic Splendor: Ruggles Sylvester Morse and the Victoria Mansion". The surviving drapery Culture and Comfort: People, and upholstery fabrics from the Parlors and Upholstery 1850-1930 mansion, as well as artifacts and Fall Symposium, The Strong Museum photographs, provided a basis for Rochester, N.Y. the comparison of these public October 14-16, 1988 interiors, circa. 1830-1865.

In conjunction with its major fall exhibition, Culture and "Carriage Tri.ings, Comfort for Comfort: People, Parlors and Mobility" Upholstery, the Strong Museum held Merri Mcintyre presented an a symposium to explore developments excellent study of the late in the design, fabrication, and use nineteenth century horse drawn of upholstery. Ten speakers from a carriages trimming industry. By variety of disciplines analyzed the using artifacts and examples from material culture of textiles used trade journals, manuals, etc., she in American commercial and domestic revealed what the fashionable interiors. The presentations on consumer of that period wanted for Friday and Saturday included the interiors of these mobile documentary studies for historical vehicles as well as for their home interiors, the use of upholstery in interiors. Upholstery in both carrriages, discussions of comfort, settings appealed to comfort. She style, and artistic reform and went on to point out that in the overviews of the production and case of carriages there was an marketing of fabrics and finished additional need for quiet for those goods. passengers who travelled, as we do today, along noisy streets. On Sunday, four workshops addressed practical solutions to problems faced by people who work with historic upholstery. 31

"F. Schumacher & Co., Importers and specialized in this area. The Manufacturers of Fabrics for workshop addressed the issues Funiture...Reproduction of Ancients involved in conserving historic r Stuffs upholstery and possible Richard Slavin provided an conservation approaches to actual overview of the Schumacher firm and upholstered objects. discussed the technical changes that now make it difficult and expensive to reproduce certain Culture and Comfort: People, fabrics for historic restorations. Parlors and Upholstery, 1850-1930 Richard Slavin is a consultant for was a very worthwhile symposium, F. Schumacher & Co. and co-curator especially in conjunction with the for the companies Centennial exhibition of the same name, on Exhibition, which will open at New view. The exhibition continues York City's Fashion Institute of until January 16, 1989. Technology in February 1989.

"Culture and Comfort: People, There were several other parlors and Upholstery, 1850-1930" excellent papers presented such as Katherine C. Grier "Rug Furniture, the Oriental Carpet The Strong Museum as Upholstery" by Rodris Roth from 1988 the Smithsonian, and the american textile artist "Candace Wheeler: The exhibition Catalogue is American Textiles 1880-1910" available at U.S. $29.00 from the presented by Marianne Curling. Strong Museum, Rochester, N.Y.

On Sunday two of the four workshops were limited to 25 Eva Burnham people. One was with Rita Adrosko Textile Division on "Identifying Late Nineteen Canadian Conservation Institute Century Upholstered Fabrics" which covered examination, and identification of early fabrics 1 1 - from 1850 to 1900. I-,-=4-1 Unfortunately this workshop run .i concurrently with "Preservation of Domestic Textiles: Draperies, Bed Furnishings and other Flat Textiles", presented by Kathleen Francis, Textile Conservator at the Museum of American Textile History in North Andover, Mass.

Another workshop was on

"Historic Upholstery Conservation: M The Problem, Some Solutions", B.11.0.1101..Iv„.-IN P•na d..„1„1 .id Mod"m -sy

Tha Period Guide, Birkenbead, Eogland 32

PUBLICATIONS.... . Legal aspects including federal regulations on pesticides; A Guide to Museum Pest Control institutional and personal Linda A. Zycheman, Editor liability; Museum of Modern Art Three chapters concerning New York effects of pest control substances on museum specimens J. Richard Schrock and artifacts; Assistant Editor Illustrated, detailed Emporia State information aiding University, Kansas identification and detection of specific pests; A Guide to Museum Pest Control Pesticide terminology and is a completely revised and pesticide use checklist; expanded version of "Pest Control Pest information organized by in Museums", edited by Edwards, pest and by target material; Bell and King (1980). Special chapters on dermestids, cockroaches, and wood-infesting Museum collections are fragile beetles; non-renewable resources of Alternative methods of control; incalculable value. Up-to-date An annotated bibliography. pest control information is needed to: U.S. $36.00 available from:

reduce damage to collection; Association of Systematics eliminate accidental harm to Collections collections from pest control 730 11th Street, NW, 2nd Floor agents themselves; Washington, D.C. 20001 increase awareness of human (202) 347-2850 health concerns.

The Executive Committee of The This book provides guidance on Textile Conservation Group pest identification and pesticide announces the publication of 8 use in the context of museum Guide to Textile Conservation, the policy. "A Guide to Museum Pest 1987-88 membership directory. Control" is recommended for

curators, museum administrators, The Guide contains information conservators, and collection on members, including areas of managers. study, research, and interests related to the profession. Other Major Topics: Policy, Law and sections provide information on Liability; Pests and Pest educational resources as well as Identification; Pesticides: geographical and specialization Efficacy and proper use; effects on indexes, and activities of The specimens/artifacts/objects; health Textile Conservation Group. hazards.

This will be a valuable aid for Partial Contents Listing all conservators, curators, Administrative policies for a students, and others interested in comprehensive museum pest textiles, textile history, science, control program; or conservation. 33

A Guide to Textile Conservation 50 pages in length. Publications may be purchased for $6.50, plus are enormously diverse and cover $1.25 to cover the costs of all regions of the world, and all mailing. To order send U.S. funds manner of textiles. They range only to: The Textile Conservation from solid academic publications to Group,_P.0. Box 6611, New York, light public-interest stories of N.Y. 10128. the kind to be found in flight magazines, to wonderfully illustrated museum catalogues. Textile Network Bibliography Some people kindly sent copies of their publications to the Museum of The Textile Network was Anthropology and these are now conceived in 1983 during the available to the general public in interdisciplinary conference in New the museum library. York on "Cloth in Human

Experience", sponsored by the I intend to continue with the Wenner-Gren Foundation for project and make updates in the Anthropological Research. It was coming years. co-ordinated by Dr. Susan S. Bean of the Peabody Museum in Salem The bibliography costs $4.00 Massachusetts, who introduced it in (CDN) for residents in Canada, and the following way: $4.50 for residents of the United States. If you would like one, "There was a strong feeling please get in touch with me at the among the participants (of the Museum of Anthropology in UBC, and conference) that new issues were if you pay by cheque, please also being explored and that these make it payable to the UBC Museum issues arose from, and clarified, of Anthropology. the centrality of cloth in human history. In order to continue, and Dr. Sandra A. Niessen to expand, this exploration of Visiting Curator and Lecturer ideas, the participants decided to UBC Museum of Anthropology initiate an international network 6393 N.W. Marine Drive of interested scholars." Vancouver, B.C. V6T 1WS In the years since that initiative, the network has ARCHEOLOGICAL TEXTILES NEWSLE:TER expanded to include more than 200 (ATN) is a semi-annual Newsletter scholars. published in Leiden, The Netherlands. It aims to provide a source of information for those I took that initiative, this who are studying textiles primarily as archeological year, while at the UBC Museum of objeczs. Contributions are very Anthropology, to collate the welocme and may include publications of all the members of bibliographic references, notice of forthcoming courses. lectures. the textile network and to make the exhibits. etc. information finished product available to the concerning work in progress. and queries concerning the study of members and anybody else who is archeological textiles. A interested. Interest in the =wo-issue subscription to ATN-is 15 Dutch quilders cr the project has been strong enough to corresponding sum in Englist: make it well worthwhile. About pcunds. Back issues (Nos. 1-5) are also available. Cinticz: half the members responded and the Gillian Vogelsang Eastwood. Van completed bibliography is more than Swiecenseraat 45. NL-2334 EA Leiden, The Netherlands. 34

CCI Commercial Product Analytical List of available reports Reports Copies of reports ARS numbers

The Canadian Conservation

Institute is offering for Bale a ...... set of over 470 Analytical Research Complete set of reports in Services reports on commercial three ring binder $110.00 (CDN) products. These reports describe the analysis of a wide variety of Cheques should be made payable to: materials encountered in Receiver General for Canada conservation such as adhesives, cleaning materials, surface coatings and display/storage INTERNSHIPS, COURSES, WORKSHOPS materials. Long term aging studies and performance testing were not Textile Conservation Centre conducted as part of the analysis Three Year Postgraduate Diploma but, where possible, Course in Textile Conservation run recommendations were made regarding by the Textile Conservation Centre the suitability of the products for in Conjunction with the Courtauld conservation applications. Institute of Art, University of Although every attempt has been London made to ensure the reliability of the reports, they were written over The aim of the Course is to a thirteen year period and some may provide students with the now be obsolete as a result of theoretical background to and products being discontinued or experience of textile conservation changed in formulation. techniques to produce fully trained conservators, able to work in a The complete set of reports is museum or in the private sector. available at a cost of $100.00 (CDN) plus a $10.00 postage and Prospective students require a handling charge. Photocopies of first degree and a minimum of report summaries from the ICARUS Chemistry "0" Level. Successful database are provided in a three students will be awarded the ring binder. Annual updates will Diploma of the Courtauld Institute be made available in July of each of Art. year at a price to be determined. As in the past, copies of up to ten The Textile Conservation Centre reports will be provided free of is housed at Hampton Court Palace. charge. These reports are currently available in English FEE: 2 5,500 per annum (to be only. To order the list of confirmed) available reports, copies of DATE: Starting October 1989 individual reports or to purchase (applications by end Nov. '88) the entire set, please complete the form below and send it to: CONTACT: Margaret Roberts, Head of Studies & Research, Textile Training and Information Services Conservation Centre, Apartment 22, Canadian Conservation Institute Hampton Court Palace, East Molesey, Communications Canada Surrey KT8 9AU 1030 Innes Road

Ottawa, Ontario, KlA OCS 35

Summer Internships in Textile a week and to pursue research on Conservation, Summer 1989 the flags or problems associated Smithsonian Institution with the flags at the Smithsonian Conservation Analytical Laboratory Institution Libraries or the CAL/Textile Conservation Laboratory In order to assess the actual one day a week. Students will be appropriateness of past published asked to document and to research and case studies on new ' photodocument all aspects of their materials or techniques, it is work and research. An informal essential that a textile presentation to CAL staff of work conservation student be familiar in progress and of research with: a) a reasonably large body undertaken·fosters an interchange of related antique textile objects; of ideas between interns and staff b) museum operations and life of in other disciplines. Short objects within museum procedures; experiments related to the area of c) a diverse group of treatment work will be encouraged. problems. Limited financial assistance After exposure to a range of may be provided by the Smithsonian objects and materials, it is easier Institution. Students at academic for a student to focus on a programs are asked to consult their particular area of study for advisers for financial aid; all advanced study, research, individuals will have to make their publication. or further internship own housing arrangements. work.

To apply: Please send a letter In conjunction with the outlining the area of interest, Division of Conservation and the past related experience, and a Division of Armed Forces History at resume (with references) by the National Museum of American February 6, 1989 to: History, the Conservation Analytical Laboratory would like to Mary W. Ballard offer up to four interns summer Senior Textile Conservator internships on such a project. The Conservation Analytical Laboratory project will involve the Museum Support Center examination, condition reporting, Smithsonian Institution minor treatment and re-storage of a Washington, D.C. 20560 large collection of 19th-century wool flags. Work in this area For specific questions, please would require precise and delicate call (301) 238-3792. Final handling, concern with a broad decisions will be made by March 6, range of technological and 1989. practical problems associated with 19-th century historic textiles. Smithsonian Institution Paint media, dye history, and Conservation Analytical Laboratory aqueous and non-aqueous cleaning Dye WorkshoD C904 methods are other areas of potential work. Purpose: To build up a set of dichromatic and trichromatic dye During the ten week internship, swatch recipes for color matching students will be expected to work in the repair of antique textiles. under direct supervision four days 36

This course will be primarily a practice on the chemical aspects of workshop for hands-on practice with conservation for experienced dyeing small skeins and swatches on textile conservators. The course wool, silk, cotton, and polyester. will include basic chemistry, It will be open to qualified, technology, and conservation, practicing textile conservators on taught by a team headed by Dr. a first come, first accepted basis. Agnes Timas-Balazsy. Guest Conservators should have lecturers include Judith Hofenk de demonstrable need for dye swatch Graff (Holland) and Dinah Eastop recipe sets. Each participant will (UK). The course will comprise 40 be responsible for makAng part of hours of lectures and discussions each set and the sets will then be and 36 hours of laboratory traded, distributed to all. practice, with a visit to the textile conservation workshop of Some short talks on dyeing the Museum of Applied Arts and procedures, dyes, color theory, optional additional visits. The clean laboratory practices with languages of the course are German dyes, and toxicity will be and/or English, depending on the incorporated into the week long knowledge of the participants. The workshop. fee of £ 838. includes full-board, accommodation in the hotel of the DATE: April 3-6, 1989 Training Institute of the Ministry PLACE: Conservation Analytical of Culture. Deadline for Laboratory in the Museum Support registration is 15 December 1988. Center. The Museum Support Center is located at 4210 Silver Hill Apply to: Ms. Agnes Timar-Balazsy, Road, Suitland, Maryland, about 8 National Centre of Museums, P.O. miles southeast of the Mall in Box 54, 1476 Budapest 100, Hungary. Washington.

REGISTRATION FEE: $75.00 (includes luncheon, all four days) ENROLLMENT LIMIT: 8 participants FURTHER INFORMATION: Mary Ballard (301) 238-3792 or Training Secretary, Mrs. Francine Hall (301) 238-3700, afternoons)

Cheque (must be for full amount) enclosed: $75.00 made payable to Smithsonian Institution. Send form and cheque to Training Secretary, CAL/MSC, Smithsonian Institution, Washington, D.C. 20560.

Chemical Background to Conservation of Textiles, Leather and Metal Threads, Budapest, Hungary 16-30 April 1989

The aim of the course is to provide lectures and laboratory 37

CONFERENCES visites des musees et des ateliers sont prevues. Les frais de Congres : "Textile du Moyen Age" participation (inscription, repas Alden Biesen (Bilzen, Belgique : et trois nuitees, transport et 13-16 fevrier 1989). visites) s'elevent a 6.000 frs.

En collaboration avec Informations : Provinciaa Museum l'Institut Royal du Patrimoine voor Religieuze Kunst Artistique a Bruxelles, la Begijnhof 59 "Nederlandse Textielcommissie" et B - 3800 Sint-Truiden le "Deutsches Textil Museum Tel. 011/68 85 79 Krefelt", le Musee Privincial d'Art Religieux de Saint-Trond (Belgique) organise un congres, d'Une duree de AIC Textile Speciality Group quatre jours, sur le theme "textile Meeting Cincinnati, June 3, 1989 du Moyen Age, plus· particulierement dans la region Meuse-Rhin". Members and interested persons who wish to give a short informal Un certain nombre de musees et presentation at the AIC Textile de tresors de la· region Meuse-Rhin Specialty Group Meeting, Saturday, regorgent de tissus anciens. On June 3, 1989 are encouraged to est frappe par les correlations qui inform Harold Mailand, as soon as peuvent exister tant au point de possible if you would like to vue periodes que endroits reserve a place for this format. d'origine, type et fonction. Au cours de ce congres scientifique Five minutes will be alloted to qui aura lieu du 13 au 16 febrier present slides or verbally present 1989, un bilan sera dresse de la a conservation problem or solution recherche du point de vue histoire for input from membership. (There de l'art, de l'analyse des is no abstract required). Harold materiaux, de la conservation, de Mailand, Director, Textile la restauration et de la Conservation Services, 928 N. presentation des "textiles du Moyen Alabama Street, Indianapolis, IN Age, plus particulierement dans la 46202 (317) 266-8398. region Meuse-Rhin".

Le congres, qui est destine TEXTILE AND COSTUME STUDY TOURS aussi bien a des specialistes qu'a toutes les personnes des milieux de The Costume Society of America l'histoire de l'art, de Costume Study Tour to France. June l'archeologie, et des musees, aura 8-21, 1989. lieu dans l'ancienne commanderie de l'Ordre Teutonique Alden Biesen PARIS, MULHOUSE, LYON, NIMES, ARLES (pres de Bilzen, province du Limbourg) du lundi 13 au jeudi 16 Join other members of the fevrier 1989 inclus. Costume Society of America for a 12-day study tour to Frante. All Quatre sessions d'une demi- the beauty, history, special journee seront consacress a des exhibitions, collections and presentations et a des debats sightseeing in one delightful tandis qu'au cours des deux apres- package! midi et du dernier jour, des 38

The following itinerary has For information and registration been designed by and for those who please contact: have a special interest in the Costume Society of America field of costume. Study Tour to France 55 Edgewater Drive, P.O. Box B Paris: Musee de la Mode et du Eareville, MD 21919 Costume, Musee nationale des Arts U.S.A. et Traditions Populaires in the Bois de Boulogne, The Louvre and Picasso Museums. While at the A Textiles Trip to Greece, June Louvre the Musee des Arts de la 17 - July 2, 1989. Sponsored by Mode and the Musee des Arts Congress of Illinois Historical Decoratifs, and Union Francaise des Societies and Museums. Ruth Truett Arts du Costume will be visited. will lead the group to Athens, Visits to Couture Houses and a Arachova, Delphi, Metsovo and more, reception sponsored by the Fashion visiting museums and contemporary Group of Paris. artisans. Further information: Cathy Williams, Dolphin Inc., P.O.

Mulhouse: Visit to the Musee de Box 584, Elmhurst, Il. 60126, (312) l'Impression sur Etoffes which 834-6927. gives the history of printing on fabric from the 18th Century to today and a visit to Tex-Union a Treasured Carpets, Costumes and printing factory that uses modern Decorative Fabrics of Russia and processes for fabrics used for the Caucasus presented by the fashion and interior decorating. Textile Museum April 21 - May 6, 1989.

Lyon: Visit to the House of Tassenari where copies of the Moscow-BAKU-SHEKI-YEREVAN-TBILISI- fabrics for the restaurations of LENINGRAD Versailles were made, and currently the textiles for refurbishing the For more information contact: Biltmore House in North Carolina The Textile Museum are in production. And a visit to 2320 'S' Street, N.W. a silk and velvet producing Washington, D.C. factory. Visits to the Musee 20008 U.S.A. Historique des Tissus, Musee des Arts Decoratifs and to see a or Tour Designs Inc. demonstration of Jaquard weaving at 510 H Street, S.W. the Maison des Canuts. Leaving Washington, D.C. Lyon, the Musee du Chapeau at 200024 U.S.A. Chazelles-sur-Lyon will be visited (202) 554-5820 for a demonstration of machinery and production processes for making felt hats.

Arles and Nimes: Sightseeing of the magificent old cities, then on to Tarascon to visit the Soleiado

factory for Provencale fashion and 1. interior prints.

.C-W- 39

EXHIBITIONS Fashion before the Deluge: CANADA Paris/Vienna 1900-1914. "Re f lections on Art Deco Jewelry, To February 12, 1989 Fashion, Glass, Furniture and, Wadsworth Atheneum, Textiles from the Museums Hartford, Conn. Collection and from Four Other Canadians Museums". Weaving and Costume of Bolivia's To February 26, 1989 Indians.

Marsil Museum, St. Lambert, Quebec To Summer 1989 Museum fur Volkerkunde, "Ivalu: Traditions of Inuit Vienna, Austria Clothing". To January 10, 1989 Thanyna: An Exhibit of Ukranian McCord Museum of Canadian History, Weaving, Montreal To March 26, 1989 Provincial Museum of Alberta, Edmonton, Alta. U.S.A.

"Purses, Pockets, Pouches: A Survey "Tartan". of Textile Techniques used to make To February 4, 1989 bags dating from the 17th to the Fashion Institute of Technology, 20th C." New York To March 5, 1989 Cooper-Hewitt Museum, New York "F. Schumacher & Co. : A Centennial Exhibition". "From Queen to Empress: Victorian To April 15, 1989 Dress 1837-1877" Fashion Institute of Technology, To April 16, 1989 New York The Costume Insitute of The Metropolitan Museum of Art, "The Ladies Work Table: Domestic New York Needlework in 19th Century America".

To January 8, 1989 Allentown Art Museum, Pennsylvania

"Minority Costume and Textiles of Guizhou Province, People's Republic of China". To February 26, 1989 Craft & Folk Art Museum, San Francisco

"Fabrics of Africa, Embroidery in Two 85¢zo women nom the new Morocco". •*hibition al_;an hcmciscols 1*L #.P: To February 12, 1989 Crun a Folk Art Museum. The Textile Museum, I I Washington, D.C. 1 li

Beaded Dcrg on exhiWI d th, Augatown An Museum. 40

POSITIONS 1047 Amsterdam Ave., New York, NY 10025; (212) 316-7523. Textile and Costume Conservator, Brooklyn Museum. Assistant Conservator. The Textile Requirements: degree in Conservation Workshop is seeking conservation or equivalent, plus applicants for an assistant significant work experience. Send conservator position. Candidates resume to Personnel Manager, should have graduate school or Brooklyn Museum, 200 Eastern Pkwy., equivalent experience trained. in Brooklyn, N.Y. 11238. textiles, objects or paper. Primary responsibilities are: Assistant Conservator. The examination and performance of Costume Institute. Metropolitan treatment for all kinds of textiles Museum of Art. Requirements: and costumes under the supervision formal, graduate-level training in of the Senior Conservator. Salary conservation, demonstrated is commensurate with experience. experience; proficiency in lab Please send inquiry and resume to: methods and analysis of costume Patsy Orlofsky, Executive Director, condition; interest in history and Textile Conservation Workshop, Main technology of costume. Salary St., South Salem, NY 10590. $28,600 to 39,500 plus benefits. Resume and letter of application to Jeffrey Kuduk, Personnel Dept., ABOUT PEOPLE. . Metropolitan Museum of Art, Fifth Ave. and 82nd St., New York, NY SHARON HAMMICK has been hired 10028. as Textile Conservator on a 6 month contract at the Royal British Assistant Textile Conservator. Columbia Museum while Colleen Must have either completed a Wilson was on maternity leave. comprehensive training program or COLLEEN WILSON will be finished a formal academic program returning to her job as Textile in textile conservation. Conservator in early January 1989 Experience in the field of textile at the Royal British Columbia conservation is highly desirable. Museum in a part time job-sharing We are a general textile arrangement. The Museum is looking conservation laboratory with for applications from Textile emphasis on large scale textiles, Conservators interested in sharing especially tapestries. A textile the job with Colleen. science background is encouraged GAIL NIINIMAA has decided not and the ability to help manage and to return to full time work at the maintain a well organized Glenbow Museum after being on conservation laboratory. You would maternity leave. She plans to keep be required to assist in the active in the field through free training and supervision of textile lance Textile Conservation work as conservation interns or time and family commitments permit. apprentices. JAN MULHALL is working at Annual salary plus 12 days Glenbow Museum as Textile vacation the first year. Specified Conservator effective September holidays and benefits. Textile 1988. Conservation Laboratory, Cathedral of St. John the Divine, 41

DOREEN ROCKLIFF has been hired as Chief Conservator at the Provincial Museum of Alberta effective April 1988. MARGARET MEIKLE is guest curating two exhibitions at the Whyte Museum of the Canadian Rockies in 1989. She can be heard regularly on CBC Radio, Wednesday afterndons at 14:45 local time on "Garbereau". Marg is the "Question Lady" and will endeavour to answer her!!any question that you may pose to -< NANCY KERR is spending her

Processes Research Division at CCI. '*16 ELIZABETH (LIBBY) PEACOCK, m*¢5 graduate of Queen's Art Conservation 7'U,u Programme, 1980, has left her post '21 1 sabbaticalas archaeological year conservator in the Conservation at the / 4Z 1 University of Trondheirn in Norway to /1 pursue a doctoral programme in , textile conservation research at the University of Manchester, Institute of Science and Technology (UMIST), Manchester, U.K. Her address is: c/o Cooke, Dept. of Textiles, U.M.I.S.T., P.O. Box 88, Manchester M60 1QD, United Kingdom. We wish :6 her luck in her studies. Pe

BIRTHS Aug. 24, 1987 Michael Graham Stone-Vuori, born to Jan Vuori and Tom Stone. .... June 8, 1987 Lisa Katrina Niinimaa, born to Veli and Gail Niinimaa..... June 28, 1988 Alice Rose Morton Wilson, born to Colleen Wilson and Cal Morton ..... July 23, 1988 Davis Gordon Howatt- Lambert, born to Anne Lambert and David Howatt.....Sept. 5, 1988 Elena Georgia, born to Mary Westerman and Eugenio Bulgarella. '1\ i i, D TCN

TEXTILE CONSERVATION NEWSLETTER

The Textile Conservation Submissions and correspondence Newsletter is published twice a should be addressed to: year in the spring and fall. A two year subscription is $26.00. Eva Burnham/Ruth Mills Eastern Editors

Back issues of Textile Textile Conservation Newsletter Conservation Newsletter are P.O. Box 4811, Station E available for $3.50 per issue Ottawa, Ontario including postage and handling. Canada KlS 5J1

We welcome submissions on: or:

Textile Conservation Gail Sundstrom-Niinimaa

History Western Editor Technology 25 Cathedral Rd., N.W. Analysis Calgary, Alberta Canada T2M 4K4 and information on upcoming courses, conferences and

exhibitions. DISCLAIMER

Deadlines for 1989 are: Articles in the Textile 31 March Conservation Newsletter are not 30 September intended as complete treatments of the subjects but rather notes Editors published for the purpose of Eva Burnham general interest. Ruth Mills

Gail Sundstrom-Niinimaa Affiliation with the Textile Conservation Newsletter does not

Treasurer imply professional endorsement. Ruth Mills

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