TCN

TEXTI LE CONSERVATION NEWSLETTER

V2

Number 23 FALL 1992 Recycled Paper 0 CONSERVATION NEWSLETTER TABLE OF CONTENTS

FROM THE EDITORS 1

WATER PURIFICATION SYSTEM IN TEXTILE LAB AT CCI 2

Season Tse

A MANNEQUIN MAKE-OVER 4 Debra Reeve

AN INEXPENSIVE TENSIONER 9

Teresa A. Knutson

CONSERVATION AT THE GERMAN TEXTILE MUSEUM

KREFELD 11 Brigitte Dreyspring

NEWS FROM CANADIAN MUSEUM OF CIVILIZATION 17 Julie Hughes

TEXTILE CONSERVATION AND HISTORIC AT

AT THE UNIVERSITY OF RHODE ISLAND 20 Margaret Ordonez

REPORTS ON COURSES AND INTERNSHIPS 21

BOOK REVIEWS 25

WORKSHOP ON ADHESIVES 27

SUPPLIES 28

TCN SUBSCRIPTION INFORMATION 30

TCN SUBMISSIONS 30

Number 23 Fall 1992 TCN

TCN

TEXTILE CONSERVATION NEWSLETTER

:... i·:: .&.tlicit

Number 23 FA! 1.·1992

ROM THE EDITORS

This is the last issue in the 1991-92 Our Spring 1993 TCN Supplement promises subscription term and we are enclosing a tobe mostinteresng, and willdeal with ajoint renewal form. In considerstion of the current textile and painting conservation project economic situation we aredoing our utmost to undertaken at the Royal Ontario Museum in keep costs to a minimum and conrinue to offer Toronto. the same subscription rates as in the past 2 years. Why not encourage your collegues to TCNIssue Number23includesanarticle subscribe! on a mannequin make-over, information about a water purification system, how to make an Because TCN has moved to Montreal, inexpensive taI>estry frame and an introduction we now have a new address: totheTextileMuseum in Krefeld,Germanyas wellas, thedescriptionofa4 month internship TEXTILE CONSERVATION in Germany and book and course reviews. NEWSLETTER P.O. Box 423 Many thanks mUSt gO tO Genevieve St. Lambert, Quebec Lafrance and Jhanvi Divanji of the McCord J4P 3P8 Museum for their skills at the graphic layout. CANADA

Number 23 1 Fall 1992 TCN

the RO water through the Milli-Q Plus unit.

ATER PURIFICATION The Milli-Q Plus purification pack SYSTEM IN TEXTILES LAB AT (QPAK) contains activated-carbon to further remove residual dissolved organics, ion- CCI exchange resins to remove residual inorganic ions and an organic scavenger mixture to The Textiles lab at CCI has recently remove trace organics. The water then passes purchased a new water purification system through a submicron final filter (0.22 um) that (Millipore). The complete system consistsofa removes any remaining particulates and particulate removal prefilter, a pretreatment bacteria at the point of use. Millipore claims pack, a reverse osmosis unit (Milli-RO 10), that this system produces water that meets or and waterpolishing unit (Milli-Q Plus). It also exceeds all standards (such as ASTM) for has a custom built 500-litre nalgene reservoir water purity. for storage of the RO water.

Determining Factors in Purchase Description of the System

The Textiles lab considered purchasing The prefilter and the pretreatment pack a water purification system because it was cleans up the water from the tap before it recognized that the quality of tap water reachesthe ROunitby filteringoutsomeofthe fluctuates. The presence of heavy metal ions, particulates and using activated carbon to iron for example, is a major concern for con- removechlorineandorganics.Thepretreatment servation treatments. The concentrations of pack also contains antiscaling compounds to these and other contaminants can vary from eliminate hardness ions thattendroaccumulate day to day and even from tap to tap in a on the RO membrane. The water that passes particular laboratory. Water purification through the RO membrane is further purified. eliminates this element of uncertainty from The ROmembraneeliminatesupto90-95%of treatments and other operations of the lab dissolved ions and up to 99% of particulates, where good quality water is required. organics and bacteria from the pretreated feed water.Theexitwaterisconsideredaslaboratory A number of factors determined this grade (ASTM Type III) and is suitable for pardcular purchase: general washing of textiles, artifactS and lab glassware. As the membrane deteriorates, the 1. Capability of the system to deliver the percentage of contaminants removed is quality of water required. decreased.

For the Textiles lab, it is important that For work that requires higher accuracy the system be able to produce both Type I as and reproducibility, such as pH measurement, well as Type III water when required. , reagent preparations and washing of special pieces where high purity wash water is For the first step of purification, there essential (eg. for experiments), reagent grade was a choice between distillation and reverse (ASTM Type I) water is produced by passing

Number 23 2 Fall 1992 TCN

osmosis. Distillation is one of the oldest access to the RO water. Alternatively the RO methods of purification and reverse osmosis is water is further· purified by passing through a comparatively new. The quality of the water series of deionization cartridges. Most water produced from both methods is generally deionization units, such as the Milli-Q Plus, considered to be laboratorygrade, and the kind have a pump which will deliver reagent grade of contaminants being removed is slightly waterat 1.5-2.Olitres/minute, whichisadequate different. Reverseosmosiswaschosen because for washing. of lower cost (both capital and subsequent operation) and ease of maintenance. 3. Cost

Getting a central water system for the Initial capital and subsequent whole institute (eg. RO) was also considered. maintenance cost was a major consideration. The drawbacks were thecostandmost impor- Maintenance costs include replacement tant of all the problem of bacterial growth in cartridges, repair and, for some systems, the the water lines where there is stagnant water. price of regenerating the resins.

For the next step of purification at the The complete Millipore system in 1991 cost pointofuse, deionization,andorganic removal approximately $12,000. This includes the anumberofreputablemanufacturers can supply custom-made storage reservoir and stand, one systems that produce Type I water (eg. setofpretreatmentandMilli-QPluscartridges, Bamstead and Millipore). RO membrane, all firtings, and installation.

2. Ability todeliverlargequandtiesofpure To maintain the system, the pretreatment water on demand. cartridges are approximately $300 each (2 per year), QPAK caruidges are $400 each (2 per For washing purposes, either in a bath or year),cleaningpillsfor the ROmembrane $53 with continuous flow,largequantitiesofwater for 50 pills (12 pills per year) and RO mem- must be produced at a reasonable rate (at least brane $900 (2-5 years). The average total 1.5 to 2 litres/min). This is particularly impor- maintenance cost for a year is between $1,200 tant for large textile pieces. to $1,700.

The laboratory RO units thal were 4. Availability and quality of service and consideredhavethecapabilitytoproducewater availability of parts. from 10-30 litres/hour depending on the temperature of the feed water. This is too slow Only those systems that have local for washing purposes. A reservoir (500 litre), representatives were considered. elevated to the level of the sink (approximately 4 feet from the floor), that can store RO 5. Ease of maintenance. purified water solved the problem. When a There are definite advantages with those large volume of water is required for washing, systems where changing the cartridges and the reservoir can be filled in advance. An routine maintenance steps can easily be done. optionaloutlet from the reservoir allows direct Otherwise the system will tend to be allowed

Number 23 3 Fa111992 TCN to deteriorate much more than it should. of these mannequins did not meet conserva- tion standards and thus fairly extensive

6. References alterationswere required. Manyof thematerials The sales representative should be able used in the constructionof the mannequins are to supply a list of clients who have purchased not recommended for use with arti facts by the similarsystems. Referencesshould becontacted conservatorsatthemuseum. Polyurethanefoarn regarding reliability and satisfaction of the was used to padout the body shapes and a non- product and service. If it is possible arrange to aqueouscontacrcementwasused zoadherethe see the system in operation. foam in place. A polyester fibrefill that contained formaldehyde and an unsealed Notalltextile labs need such an elaborate plywood was also used on the frame. and expensive water purification system. It is Better choices would have been a safe to say, however that any water purification polyethylene foam. an aqueous base contact is better than none. Renting from companies cement, a fibrefill free of formaldehyde and a such as Culligan may bea temporary option. In sealed exteriorgradeplywood such as birch or the long run, getting a system that has the beech. A pre-washedcottonblend stretch fabric flexibility offurther upgrade would be abetter for the final covering on the mannequin was investment, even if the initial cost is slightly also recommended. higher. Season Tse Adjustable steel frames made up the Senior Assistant Conservation Scientist structuralcoreofthemannequins. These frames Canadian Conservation Institute pivoted at the waist and neck. The shoulder Ottawa, Ontario width, torso, arm and leg lengths were also adjustable. A series of lock nuts and bolts tighten to holdthe adjustable proportionsatthe desired lengths. Torsos can be displayed < MANNEQUIN MAKE-OVER separately by removing the upper part of the frame at the waist. The ability to duplicate almost any human pose and lock it solidly in Last year the Glenbow expanded its place is one very useful feature of this frame "Heritage from the Homeland" exhibit. This design. (Diagrams 1 and2)Thedurableframes expansion required theadditionoffivemanne- have the potential for reuse. Revising them quinsto beclothedinethniccostumes. Criteria from their present configurations for reuse for the mannequins included flexibility for with different costumes may require major posing, an abstract or generic appearance and renovarions if the funire costumes are different durability to allow for long-term display. in size, shape, gender and type.

A commitment to purchase five manne- Extensive changes were made to the quins from a local manufacturer was made mannequinsthatwerepurchased fortheexhibit without any consultation with the Conserva- Duetorimelimirations, some ofthenecessary tion Department regarding their suitability for changes were not made. The alterations that use with the textile artifacts. Several features were made were extremely challenging and

Fall 1992 Number 23 4 TCN

X

8

DIAGRAM 1 -

Complete inner steel frame showing all adiu,[able and =enddle parts.

C

A Fibre fill padding co give shape to the shoulders and arms.

Ethafoam blocks for the main torso. E

C Torso removable at this point.

D Plaster hand attached a[ .risc.

E Support mount actached H che frame in back of thigh.

Metal strip for the foot.

the entire process of revising five mannequins frustrating delays given the limited time took approximately three months. Extensive available for the renovations. Much ofthe end discussions took place among the Curators, result was reached by trial and error and this, Designers and Conservators to decide on along with research of materials and the colour, hair, facial features and poses. ordering thereof, required a great deal of time.

Delays in decisions regarding the Because the costumes were very small, appearance of the mannequins caused the shoulder width was too big at the smallest

Number 23 5 Fall 1992 TCN adjustment and the metal tubing had to be cut quin kits were not appropriate for our needs. here.Oncetheframeswerereducedthepadding They were difficult to put into natural poses and had a very glove-like, unnatural appearance. We produced replacement hands 1 by using museum staff as models. They held their hands in the required positions and we 'er=* r cast them using pre-plastered gypsum banda- ges. Threaded bolts welded to large washers were plastered into the palms of the hands DIAGRAM 2 - when they were poured. This allowed the Decail of the moving joints. Arrows indicate finished hands to be threaded back onto the direction of movement.

Thisand arm is the section. right shoulde5Wul 1. Emo

becamedistortedandpuckered. Thusthe foam DIAGRAM 3 2 had to be removed and cutdown to fit the new Decail of che new hand. Wagher end was efhbedded dimensions. into the palm of the hand endwith plaster. could The chenthreaded be reauached at che wrist. Definitions for the elbow, knee and ankle bones were created by inserting shaped pieces oferhafoambetween the fibrefilland the frame. This was then stitched into place. The manne- arms of the mannequins. (Diagram 3) quins used to support the feminine costumes were not built with female features so fibre The heads that came with the kits were dust mask pads and cotton bras were used to alsounsuitable forourpurposes. Castoriginally create bustlines from store mannequinsofthe 1950"sand 60"s, thefeantresweretoo pronounced for the abstract The hands and feet presented us with orgeneric look we required. The features were morechallenges. Themetalsuipsthatmakeup softened and abstracted by sanding down a the feet (Diagram 1) were roo long for one of number of areas and building up others with the pairs of shores so they were cut down. In plasterfill. The headsweremade from an auto- one case the metal strips could not be used at body type plastic that is extremely fragile and all to support the high-heeleddancing shoesof requires an off-gassing and curing period of at one costume. The foot assemblies were least six weeks. removed from the mannequin, reshaped, inserted into the feet from an old plaster store The general consensus regarding the mannequin and plastered in place. These were hair was to achieve the appearance of hair then filed, sanded and shaped to fit into the without much detail or using additional very narrow dancing shoes. materials. The hair was thus built up on the heads with rope, felt and cotton strips. These The hands that came with the manne- materials were braided, twisted, looped and

Number 23 6 Fall 1992 TCN

piled on the head and then covered with thin animated poses using the seriesof locknuts and layers of plaster. (Diagram 4) The result was a bolts welded to the frames at the jointed areas somewhat textured appearance suggesting the suchastheknees,anklesandelbows.(Diagrams 1 and 2) Once the pose was determined the locknuts were tightened after the mannequins were dressed; however, some had to be tightened before dressing the mannequins.

The completed mannequins were quite heavy which made them difficult to handle. They were basically free-standing but a more secure support was needed for long-term display. However we could not usethe support DIAGRAM 5

Mannequin heads had method that came with the mannequins. This hair built up on Ihen wich various macerials was a back support system with a rod running such as rope. Plasrer underthecostumebutbecauseofthepossibility was added on cop of chis. The heads were chen spray of damage or stress to the clothing it could not painted and covered in Dhe black cotcon Dighrs. be used. Theothermethod supplied wasa foot mount system but it was nor considered at all because all the footwear were artifacts and appropriate hairstyle. holes could not be made in the soles. An alternate mounting method was created by Black cotton tights were used to cover using a six inch piece of threaded rod screwed [hehands and heads. The legs ofthetightswere into a nut welded to the back of the thigh. The cut in sections, then pulled overthe body parts. rod ran horizontally through a piece of copper Fifteen pairs were used to cover the legs, arms, pipe that was bolted vertically to the case heads and hands of the five mannequins. The platform. (Diagram 1) This method was hands and heads were then spray-painted with unobtrusive, very sturdy and strong. black latex paint so that the light grey colourof the mannequin material did not show through The Glenbow is planning to use similar the covering fabric.The black stretch fabric steel framed mannequins for future exhibits. was adhered to the heads and hands with 3M These will be purchased without the padding. #77 spray adhesive. Some hand-stitching was This gives the museum staff options for using required to take up the extra fabric from the safer display materials and determining the contoured shapes and give the heads and hands size and shape of the body parts. a smooth, finished surface. The torsos were covered snugly with a black stretch cotton Torsos in the future will be made of fabric. Mylar barriers were then used where carved ethafoam pieces (diagram 1) which therewascontactbetweenthemannequinsand have been designed to fit onto and around the the costumes. frames. Legs, arms and heads will be produced by various methods depending upon the The mannequins were posed in slightly requirements of the curators, designers and

Number 23 7 Fall 1992 TCN conservators. There are many criteria that Northampton Historical Society, 46 Bridge have to be considered when building manne- Street, Northampton, MA 01060. Soft manne- quins for exhibit especially with increasingly gum instrucnons, enclose $1 and self-addressed sophisticated exhibition techniques. Each cos- stamped envelope. tumeexhibit, has many differing requirements and needs to be dealt with individually. When Wilson, C. "Body Building," Textile Conser- building mannequins there are no standard vation Newsletter - Canada. Sept. 1982,8-11. solutions. The mannequin builder must be creative, innovative and sensitive to all criteria Debra Reeve for each exhibit. Conservadon Department Glenbow Museum Themannequinsbuiltfor«Heritagefrom Calgary, Alberta the Homeland» are just one example of a successful method of creating a costume exhibit. Thefinishedmannequinsfulfilledmost of our objectives and the end product was successful and pleasing. Public response to the mannequins has been positive.

533.

0 Ae-,7..5/ZkJ./

1 9*,",19.4,111• r

"Three of the finished Mannequins"

Enfcm[1Qia

Harris, K. Costume Display Techniques. Nashville: American Association forS[ate and Local History, 1977.

Fall 1992 Number 23 8 TCN

N INEXPENSIVETENSIONER /r 11 *1 11 1 The conservation lab in the Department 11 4 of Clothing and Textiles at the University of 1/

Alberta recently had to complete a I &' r C t./ project. Because larger are not a frequent occurrence in the lab, we did not have FIGURE 1. a tensioner. The tensioner needed to be adjustable for the wide variety of flat textiles worked on in the lab, and it needed to be easily desired height for our working situation. moved and stored, since there wasn't room in (see Figure 1) the lab for a permanent tensioner. The cut side of the box was overlapped just enough to fit inside the full side. We cut We consulted with Jim Corrigan, away the underlap at the bottom of the box to exhibition co-ordinator, Museums and Collec- allow the cut side to fit flat, but left the overlap tions Services, on the development of an on the side of the box for extra strength. Hot inexpensive andportable tensioner. A wooden device with half circles cut out was to be used as a holder for [he four inch ABS pipes onto - which the tapestry was rolled. Bar- or C- . i clampsweretobeusedtoholdtherollers(ABS 1 pipes) under tension. + rar-*M

A mock-up of the wooden device was madebycuttinghalf-circlesoutofaXeroxbox FlQURE 2. in order to determine height and shape. We discovered that the Xerox box was suong enough on its own to function as the holder for the rollers. Four empty Xerox boxes were meltgluewasusedtoholdthepiecesofthebox obtained from the department storeroom and together. (see Figure 2) modifications made for additional strength, Wecuthalfcirclesineachsideofthebox making the main cost for the tensioner the to hold the rollers. Placement of the holes purchase of four clamps. was determined by the length of the clamp. For the clamp to hold the roller in place, it Illustrations below show the method of has to be braced against the other side of the turning the boxes into holders, and the comp- box. The half circles were dropped into the leted tensioner system: box below, and glued, in order to reinforce The Xerox box is cut in half lengthwise, the area that would hold the weight of the and one side is cut in half widthwise as in the roller. (see Figure 3) illustration below. We then cut the box to the

Number 23 9 Fall 1992 TCN

Additionalsupportwas added to the area that would hold the roller by gluing a two inch

/i

1 \ *//9

1 **91 1 1 1 V-ff ,,'-77-7-,I _LJ A

FIGURE 3. FIWRE 4. piece of rigid polyethylene foam (Ethafoam) between the holes for the rollers.

"89 *85

\\ G

1 TMLE-CP cm@¥ARD 06(66 -win# CUr SENK,1LE FIGURE 5.

The finished tensioner system is

illustrated above. Conservation Intern Textile Analysis Service This system provided adequate tension Deparrment of Clothing and Textiles during the 5 week period while we were 301 Printing Services Building consolidatingthetapestry. Afterthatperiodof University of Alberta use, the Xerox boxes show very little wear and Edmonton, Alberta T66 2N1 will remain in the lab for future use. Illustrations by Heather Prince.

Teresa A. Knutson Faculty Service Officer/Conservator Heather Prince

Number 23 10 Fall 1992 TCN

It has thus become one of the most ONSERVATION AT THE comprehensivetextilecollectionsinGermany.

GERMAN TEXTILE MUSEUM Anattemptwasmadeinthenewbuilding KREFELD to provide the best possible conditions for storing and exhibiting historic textiles. The

In May 1991 I had the great opportunity idea of a permanent exhibition lasting for to come to Canada and to give a lecture at the severalyearswasdroppedattheverybeginning IIC-Conference in Vancouver and at the because of the quantity of the objects and the

Canadian Conservation Institute in Ottawa. fragility of textiles. It was decided to use a The following article is a shortened version of principle of rotation, with temporary this lecture. exhibitions lasting 1 to 3 months. Both objects from the museum's own collection and

The German Textile Museum is a borrowed objects are shown. This is often museum of art that collects, exhibits and con- disappointing for the visitor who comes serves textiles from all over the world. The expecting to see a great numberand variety of textile industry in Krefeld has a long tradition. textiles. This principle has, however, proved to be the best for the conservadon of the The production of velvets and silks was responsible for the growth and wealth of the objects. The visitor can only see, at anyone town during the 18th and 19th century. Even time, a small part of the collection, shown in today «Velvet and Silk Town» is still its special open storage drawer cabinets. slogan.TheGermanTextileMuseumgrewout of this tradition, at the end of the 19th century An important factor in preventive con- the Krefeld textile manufacturers put together sen,ation is to use the best possible storage for a study collection of textile art which was to the textile objects. Manyofthestorage methods serve in training their skilled workers. In 1880 in this museum are very good. The one big the Royal Textile Collection was founded, disadvantage of our storage space is that it is being part of the technical school for weavers already too small after just ten years. There are andtextiledesigners.Thecollectionwasgiven various cabinets and drawer systems to to the town in 1936. accomodate textiles of various shapes and sizes. The objects are thus organized first

After the Second World War the Ten- according to size and shape, then according to tral Research Institute for the Restontion of origin and date. 1 -argeshaped pieces areplaced Historic Fabrics" was founded. Its task was, flat in drawers. Smaller pieces such as woven above all, the safeguarding and protection of fragments, printed textiles, and embroideries the endangered ecclesiastical textiles in the are on removeable shelves in a compact mo- surroundingdistrict. Since 1975 thecollecdon bile system. Long lengths of fabrics, covers and the institute have been combined to form andhangingsarerolledandhungindrawerson the German Textile Museum. In 1981 the cardboardrollers. Becauseofshortageofspace museumreceivedanewaccommodation. After many costumes have to hang whereas flat collecting forover a hundred years the collec- storage would be better for their preservation. tion today comprises of about 22,000 objeCIS. Such a comprehensive collection demands

Number 23 11 Fall 1992 TCN constant checking and care which for lack of are repeatedly faced with this question: Is it dmeandstaffislimitedtothebasicpreventative possible to leave historic influences as they are conservation measures. At the present time it because they are evidence? Or is it necessary is not possible to systematically conserve all toremovetheminordertoconservetheartifact objects, only items which are to be exhibited for the future? are treated. We always try to retain all parts of an The conservation workshop of the object If possible seams are left stitched, German Textile Museum is staffed by four dismantling is avoided as is the removal of conservators and one apprentice. The original parts or later additions. We can not conservators haveeducational backgrounds in always adhere to this principle, however. Often ,dressmakingorembroideryandhave enough we have to make comprornises for the also taken a training course of several years in sake of stabilizing the complete structure, but a conservation workshop. Two years ago a all changes are carefully recordedin the textile conservation course was established at treatment repeat. the UniversityinCologne which requiresover threeyears pracriceinaconservarionworkshop, A comprehensive treatment report is before a student is accepted to the course. madeoneveryconservationprojecLAnanalysis of material and teChniques is made, and The scientific aspect of the preservation alterations and state of preservation are and restoration of historic cultural property is established. Only when the object has been continually gaining in importance. The condi- assessed in all aspects can a decision as to the tionoftheobjectsisdeterminedbythechemical necessary and appropriate treatment be taken, and physical characteristics of the fibres. Thus as well as notes about the materials to be used the advice of a scientist would often be a great in the treatment. help for us. Usually, however, we are on our own in such questions and decisions. Since we The conservation workshop at Krefeld do not have a scientist on staff when there are is the only museum's workshop in Germany special problems we refer to the few institutes which is self supporting and charges for or chemists in Germany which specialize in treatments carried out forotherinstitutions. So conservation. there is less time for the care of the museum's own collection. We are given many contracts Theassessmentofthevalueoftheobjects byothermuseums, churches, privatecollectors is not only based on their material worth, the and societies. We work on all types of textile inherent value of the materials used or their artifacts such as costumes, vestments, artistic importance. Their value is also based embroideries, hangings and banners. We are on the historic evidence they provide as a not specialized in working with tapestries and witnessoftheirperiod. It isouraim to preserve archaeological finds. the artifact by treatment without changing the character of the object. Ir is to maintain the Aproposalismadebeforeeachtreatment artifact in irs present appearance instead of and the necessary working hours calculated. restoring it and refurbishing its beauty. So we This estimate is normally binding for the

Fall 1992 Number 23 12 TCN account rendered later. It is, however, nor breedinggroundforbacteriaandattractfeeding always possible to keep this plan exactly. insects. Nevertheless. wet-cleaning is only Oftennewaspectsandproblemsappearduring possible for fabrics in good condition where a the treatment and demand different or more swelling of the fibres and the movements extensive inervention than planned. It is also won't lead to a loss of substance or a change in clear that given completion dates are to be the surface structure.Wedonotwash when the adhered to forthesecontracts. Yetthe treatment fabric is too brittle, when the surface would be must on no account suffer under pressure of changed too much as with velvets or time. embroideries, whendyeswouldbleedorwhen a specific drying would be hindered by the Mostoftheobjectscomefromoutsideof presence of several layers, for example Krefeld. After conservation they leave our interfacings and linings. In a wet-cleaning hands.Wecanonlycheckonthematinfrequent process we work with de-mineralized water, intervals. Thus from the outset the conditions usually cold or lukewarm, and with an anionic for their storage, exhibition and possible use and nonionic detergent.' We wash and rinse in must be taken into consideration in treatment as short a time as possible in order to limit the and mounting. Many questions are put to the swelling of the fibres. ownerordecidedon in avisitto the place itself, by one of the conservators. Questions such as, A great problem is the treatment of where will the object be kept? how are light aggressive types of soiling such as rust stains and air conditions to be regulated? how is it alkalineoracid soiling, theycancause damage possible to protect the piece from dust, when inconnection with moisture. But in these touchingand handling? and who is going to be cases as well, a specific treatment of a stain is, responsible for putting this into practice and however, only possible when the structure and checking on it? We have to make it clear to the dyes won't be damaged. We often feel that it ownerthat the future preservationofthe textile would be extremely helpful to have a vacuum object, will depend on the careful and correct table for these cleaning problems. display and storage. I would like to discuss the cleaning Cleaning: question with the following examples: One of the first considerations in the conservation concerns the cleaning. The We are at the moment occupied with method of cleaning depends on the existing costumes from a museum in South Germany. condition of the object. We only clean when There are costumes, men's clothing, and damage can beexcludedandacertaincleaning uniforms from the 18th and 19th century. In effect can be expected. It is not our aim to about 1910 the cosmmes were exhibited in the remove every form of soiling. museum, mounted on contemporary tailor's mannequins which considerably distorted the Many types of soiling have no direct shape of the costumes. All the costumes were negative effect on the fibres. Theirremoval is faded and dirty after years of being exhibited thusaquestionofaesthetics.However,dirtcan without protection from light and dust. They increase mould growth, it can provide a werefirstcleanedofadustlayerbyabrushand

Number 23 13 Fall 1992 TCN a low suction vacuum cleaner. After that the embroidery makes washing impossible. Dry- cleaning methods were used as follows: cleaning by professional firms is something wedon'tlikerouseonhistoricobjectsbecause A woman's dress from 1860 made of of the amount of movement in the machine silk moird, with the fabric intact, faded in a few which often runs unchecked. We did an places and slightly soiled. Washing would experiment with a silk dress from 1820 that have been a risk because of the composite was in really good condition but very soiled, nature of the costume including silk moir6 was cleaned in retrachloroethylene ("Per"). gauze lining and linen. Dabbing with a sponge The dress was padded with polyester fieece which was moisted with a mixture of ethanol andmuslinandfoldedonce, and thenplacedin and water was successful to freshen the shine thedrum. Thecautiousslowmovementyielded of the silk in this case. Only the discoloration good cleaning result. The silk was bright and of the silkcaused by perspiration and moisture softbutcrumpled. It was smoothed by pinning couldn't be changed. and steaming.

An 18-cennlry man's waistcoat of Methods of supporting and consolidation: white linen with fine embroidery on the front had become brown becauseofoxidationofthe The following applies to our stitching cellulosic fibres. It was not bleached, since we rechniquesingeneral.Weunderlayadamaged were concerned about the fit*e damage. The fabric with the same type of material and waistcoatwaswashedonly, andinordertodry similar physical properties to help avoid and smooth it, i[ was placed over a fitting differences in tension. Structure and colour of shape. It was possible to shape areas by hand the support material am matched to the object. and pinningit out while blow-drying with low In this way the original impression of the heat. whole can be regained while missing pieces and damaged parts remain recognizable. The Anotherdressfrom 1820madeofstriped new material and artifact lie flat on the table cotton and silk was yellowed and had brown during the sewning process. We use running stains. A detailed analysisof the swins was not and couching stitches with thin hair silk and possible. However, we decided that the dress curved needles. We don't use frames to attach could be washed. Here too, the stains were not the damaged textile to its support removed with an additional treatments considering the aged material. Fitting shapes A hooded cape-like cloak of silk rep prepared in advance from polyester fleece, withbrocaded flowerpatterns dated from about molded in foil were pushed into the wet dress. 1740 had been used as a christening robe by a They served to shape and smooth the pieces NorthC}erman family. Thestiffsilkwasheavily during the blow-drying. damaged by use and improper folding. It had completely lost its stability with the tears and A great cleaning problem is posed by a holes. Washing toremovethewaterstains was lot of silk costumes and uniforms. The not possible. For this reason the silk was only brittlenessofthe silkfabricandthecombination smoothed by partially moistening with a mix- of and linen material often with metallic ture of water and ethanol (in a ratio of 1:1).

Fall 1992 Number 23 14 TCN

Then the question arose as to whether an works. adhesive method should be used. In the end we decided the cloak should be backed with silk We used a different adhesive method on and the damaged parts were very a "Toile de Gtne", a late 18°'-century printed carefully sutched down with couching stitches. cotton, from Genoa. Its condition was poor, Because of its fragility and stiffness sewing up the material had turned brown and brittle. and and down over a narrow opening in the table the brown printing had rotted the fibres. Many with fine beading needles enabled us to make parts of the cotton had already broken away only very small punctures without breaking and were lost in spite of having been sewn and the silk. The historic repairs such as the darned darned to a lining. The lining and the darning patches were retained, and rnissing areas were were removed. After smoothing the textile closed. After the conservation was completed with the help of steam and glass plates the a properly shaped support that prevents folding cotton "Toile" was secured by an adhesive. A of the hood and provides additional stability backing cloth of cotton was dyed and sprayed was made. with an acrylic resin adhesive using a high pressure spray gun. The "Toile de GEne" was Adhesives: amchedtothebackingbyironing. Theadhesive In general I prefer StitChing to using adhered well to the relatively rough surface of adhesives. Adhesives are only used when the the cotton. brittle material would be damaged even more by stitches and no other consolidation method Dealing with former restorations: is possible. Various Coptic fragments came to the conservation lab for treatment. A coverlet This was the case with a painted (oil) silk worked in wool, from the 6th century had been taffeta banner. First the extremely brittle silk put together from pieces of a tunic. The part was smoothed. The treatment in the humidity around the hem, front and back had been cut chamber lasted about 10 hours at a reladve off and put together as a square. Numerous humidity of 90% making the fibres so supple small fragments had been fitted together like a that creases and folds could be smoothed out puzzle, however, itwascombinedwherepattem by weighting withglassplates. Because sewing and structure didn't match. The impression of the brittle silk was not possible it was secured the whole was of a unit although at closer by adhesives. The banner is supported by silk examination, the mistakes were distracting. crepeline coated with an adhesive on both Removing all these repairs and alterations sides. To prepare the crepeline the acrylic would have meant facing new fragments. We resiniwasfirstpaintedwithabrushononeside could only have managed minor visual of the fabric, then dried and repeated on the improvements even after time-consuming other side. In addition silk taffeta served as a work. So we decided only to secure the worst stable backing. Then the three layersofbanner, damaged parts with couching stitches and crepeline and backing were joined by using a mount the whole on a sloping panel. heat spatula at a temperature of about 40°C. Using this methodof crepeline coatedon both ThewmeproblemwasposedbyaCoptic sides was new for us and time will show if it hanging from the 8th century. The pattern is

Number 23 15 Fall 1992 TCN made of 63 repeated sqaures. In an earlier use when the wearing of a robe is traditionally treatment numerous pieces of a much larger connected with a certain celebration of the hanging had been put together and in so doing mass. It must be respected that the objects have even the smallestpiecesplacedquitearbitrarily. not only art-historical importance but still The very brittle fragments were insufficiently fulfil a function. They would be robbed of this attached to a soft underlay-material by a few function were they to be torn from their large stitches. All we could do was to remove traditional circumstances and seen from a them and place them on a new support. In purely museological, point of view. In these doing this we rearranged the fragments in cases all concerned must compromise. order to improve the whole impression of the pattern. The fragments were sewn to a new I should like to describe the following wool fabric using a close couching stitch treatment briefly as an example. It concerns a system. It didn't seem to make sense for us to cope from a small chapel near Cologne. The underlay each pattern unit with its dominant cope was made about 1900, from an colour. ecclesiastical viscose fabric probably woven in Krefeld. The pattern imitates an Italian silk Anotherfragment ofatunicfrom the 6th damask from the end of the 15th century. The century had been stitched on a backing. We embroidery is alsodone in the style ofthe 15th removed this soft backing because it was not century, and is of high quality The cope had sufficient support. Here, we decided to back been kept in unsuitable conditions and worn the differently coloured areas of the runic With for the celebration of the mass several times a matching wool materials. The new backing year. Theshoulderpartsand thefrontfastening stabilizes the woven parts and serves, at the were very stretched and torn because of hanging same time, as a substitute forthe missing parts. it on a improperly shaped hanger. For lack of The impression of a tunic is conveyed with the room the cope can in the future only be kept help of a stand.

Contemporary reuse of historical textiles:

The Roman Catholic tradition is still very much alive in the German Rhineland and most churches still possess quantities of all sorts of Ecclesiastical vestments: church banners and canopies which are carried in processions, altar hangings and above all priest'svestmentssuchaschasubles,dalmatics, and copes from the 18th, 19th and 20th centuries. In spite of existent damage to the vestments from the end of the 19th and beginning of the 20th centuries they are still worn with pleasure because of their beautiful colours and patterns. Our protests are of little

Number 23 16 Fall 1992 TCN hanging instead of flat. Apart from this, it is still to be worn once a year for the mass of the EWS FROM CANADIAN patron saint. Thus during the treatment the fabric of the upper part in particular had to be MUSEUM OF CIVILIZATION stabilized. After undoing the lining on the upper edge an interfacing of silk was inserted TEXTILES CONSERVATION and fastened by running stitches. Tears in the LABORATORY fabric were secured by couching stitches in reeled silk. A further interfacing of fine linen covers the chest and back and extends to the During the past months we worked on fastening in order to spread the tensile force. A the preparadon of 32 lingerie items for an correctly shaped stand supplies the proper exhibit entitled «Labourof Love» thatopened in March 1992, and continue until 1994, in the support for the upper part. Mezzanine of our History Hall.

Each object demands an individual These garments comprise the trousseau treatment and we always uy to do the best of Madeleine Stuart Cassels, of Ottawa, 1891- possible. But what is the best? There are 1984, who was expecnng to go out to India to certainly various opinions on this. But many join herfianc6,cim 1910. Alas, while he was ideas and a lively exchange of thoughts stimulate and lead to new solutions. there, he met and married someone else. The pieces are all white cotton, trimmed

Annotations: with lace (mostly hand-made bobbin lace) and monogrammedinfinesatin-stitchembroidery. ' Hostapon/Hoechst AG (anionic detergent),Tinovetin/Ciba-Geigy (nonionic The quality of the handwork and the time it would have taken, are remarkable. detergent)

Acry|harz 360HV:498HV (1:2), Numerous pieces were given stain- Lascaux, Switzerland, diluted in water (1:8) removal treatment using sodium dithionite. All were washed, and the lace components were carefully blocked out. Ribbons, which Brigitte Dreyspring Deutsches Textilmuseum were inserted in the yokes, sleeves, etc., were

Andreasmarkt 8 treated separately. D-4150 Krefeld A Kilim (flat woven rug), donated to the museum by Lennie Vassil, was also prepared for exhibit in our Arts & Traditions Gallery. The borders were fraying badly, otherwise it was in quite sound structural condition.

According to curatorial wishes, the damaged areas were rewoven (see photos 1,2, and 3). Missing tassels were also replaced with

Number 23 17 Fall 1992 TCN appropriate yams. No wet ordry cleaning was probably adapted from the patterns seen on done owing to fugitive dyes. Owing to time patchwork quilts brought into the Salish area limitations, only one end of the kilim was during the colonization period of the Pacific treated. The textile is displayed with the first Northwest Coast (1850-1900). They have a quarter of theoppositeend rolledontoan acid- central focus, surrounded by repeated free tube. The rewoven border was given geometric patterns.1 This textile, which has additional support with a backing of black been used as a robe, blanket, floor and bed stat,iltex (chosen for its transparency and light cover, is constructed of commercial woollen weightquality). A cotton-polyester lining was (wefts) and hemp (warp). also provided for the entire textile. The blanket has been washed. The Treatment of several Salish Blankets selvedges, which were bound with a fine

also progresses. A -weave blanket of brownish-green wool, now badly deteriorated, mountain goat hair, with twined borders, once are being covered with a protectiveoverlay of worn by Chief Capilano Joe, circa 1911, has brownsilkcrBpeline. The badly frayedportion been washed and is now being backed With of one of the borders will be secured by linen in preparation for installation in the stitchingtoabackingofappropriatefabric. No Salish House in CMC's Grand Hall. The reweaving will be done. The blanket will be blanker will be displayed on a 15° angle in a secured in an overall fashion to a backing of display case. blackconon-polyesterfabric, withonewindow provided to re-assure the researcher that the A Colonial-style Salish blanket woven blanket is reversible. circa 1860 near Spuzzum B.C., is also being conserved. The design of these blankets was This blanket is to be included in the

Fall 1992 Number 23 18 TCN

«Native Clothing Exhibit» scheduled in our 1 All details re. construction, exerpt from Special Exhibitions Hall for December 1993, Salish Weaving, Paula Gustafson, Douglas to August 28, 1994. & Mcintyre, Vancouver, 1980.

Julie Hughes Anna Jakobiec Museum of civilization, Hull, Quebec

Number 23 19 Fall 1992 TCN

others have been either historic research or a EXTILE CONSERVATION scientific study related to problems in conservation. Subjects have varied from AND HISTORIC TEXTILES AT archeological textiles to nineteenth-century THE UNIVERSITY OF RHODE woven straw bonnets to post-World War II printed textiles. ISLAND

The Department Chair is Dr. Linda Textile conservation and historic textiles Welters, who teaches courses in the historic and costume are two areas of study available area, andwhoseinterests includefolkcostume, forstudentsseekingaMasterofSciencedegree 20th century American dress, and the material at the University of Rhode Island. culnireof New England. Dr. MargaretOrdonez teaches textile conservation, and has been Students in the textile conservation and involved in the field for almost 20 years. Her historic textiles andcostume areatakerequired research interests include wetcleaning, courses covering historic research methods, detergency, and other current issues in introduction to textile conservation, social/ conservation. Dr. Martin Bide is a textile psychological aspects of textiles and clothing, scientist whose research interests stern from plus an internship and a thesis. Electives his background as a dyestuff chemist, and related to history within the department are include dye analysis, colour science, pollution historic textiles, historic furniture, historic prevention in thedyestuff industry, and dyeing costume, and ethnic costume. Textile courses technology in biomedical applications. that are frequently taken include dyeing and

finishing of textiles, detergency, and special TheU.R.I. Historic CostumeandTextile topics in textile Conservation. Collection is housed in the department and is available for study by students. It is used in A variety of places have been chosen for both historic and conservation courses. The internships. These include the Textile collection includes textiles, clothing, Conservation Centre at the Museum of equipment, and publications that reflect the American Textile History, Smrbridge Village, history of Rhode Island and New England, as the St. Louis Art Museum, the National well as others of international origin. MuseumofAmericanHistory,theRhodeIsland

School of Design Museum of Art, and the The textile science laboratories have a Isabella Stewart Gardner Museum. The widerangeofequipmentfortestingthephysical students worked under curators and/or properties and colourfastness of textile conservators to learn about collections materials. Two computer colour matching management or textile conservation. systems are used for the analysis of colouring materialsandthepredictionofrecipes to match The thesis that students have recently coloursontexdles. Lab-scaledyeingequipment completedorarenowfinishingamquitevaried. is also available. One included both historic research and

experimental conservation techniques while Furtherinformadoncan beobtained bywriting

Number 23 20 Fall 1992 TCN

the Department of Textiles, Merchandising and Design, at 303 Quinn Hall, University of In addition to learning the basicsof these Rhode Island, Kingston, RI, U.S.A., 02881- various techniques, participants were shown 0809 or calling (401) 792-4574. how some patterns in ancient Peruvian textiles reflect (orare derived from) the structure of the Margaret Ordonez fabric itself. University of Rhode Island Kingston, RI A selection of ancient Peruvian textiles on loan from the collection of the Canadian Museum of Civilization's Archaeological Survey of Canada, and several ancient Peruvian EPORTS ON COURSES AND textiles fromtheDeparrmentof Anthropology, University of Montreal which were being INTERNSHIPS treated in the Textile Section, provided Ancient Andean Textile Workshop examples ofmany of the techniques discussed and were a very valuable addition to the From May 25 to 28, 1992, the Textile workshop. Section of the CCI hosted a workshop on ancient Andean textiles. The workshop was Course materials included copies of per- designed for those professionally involved in tinentarticlesandnumerouswonderfullyclear the care of ancient Peruvian textiles and was diagrams of the various techniques drawn by taught by Mary Frame, a well known specialist Mary Frame. in this field living in Vancouver, British Columbia. Due to the course's intensive na- The purpose of hosting this workshop ture, enrolment was restricted to 15 partici- was to provide textile conservators with more pants. Textile conservators representing con- first hand knowledge of ancient Peruvian tex- servation labs or institutions housing ancient tiles. By understanding more fully how these Peruvian textiles from across the country textiles were made and used, conservators will attended, as well as CCI Textile Section staff bebetterequippedtomakedecisionsregarding and interns. the suitability of conservation treatments and the conditions and techniques used to display By means of slide lectures, and store them. In a session devoted to conser- demonstrations and hands-on sessions, parti- vation concerns, Mary Frame presented the cipants were introduced to a wide variety of researcher's point of view and described how yarn and fabric making teChniques. These critical construction details can be to the included using sticks and drop researcher. She also emphasized the need for spindles, cord twisung and knotting Quipus, theentire textile, frontandbackto be accessi- makingacontinuouswarpwithourgingknots ble for srudy. For example, if only a short at each colour change, weaving headbands, length of a rolled textile or only the front face cross knit looping (needleknitting). sprang, of a flat textile is exposed, the researcher may sling braiding, and larkshead knotting as used be prevented from seeing if any anomaly in in Andean four-cornered hats. pattern or structure is present Anotherconcern

Number 23 21 Fall 1992 TCN was the possibility that the three-dimensional tion. texture created by overmisted yams may be altered by an aqueous treatment. With the aid Ms. Frame's knowledge and obvious of slides, Mary Frame described methods for love of ancient Peruvian textiles combined

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8 6 *MAR FRAME 1111 BEGINNING A PARACA.s RECROFOUS HERDBARP »)1HE RLY BAND* APE TEN*HNEB AND HEDDLM·COhifROLLED. ELEMENS OF THC SECout SET ARE LRID iN SHEP, LIke MUL-rt FLE WEFTS. tdORk 'PROL.EEPS AWAY FROM 18£ MAKE.R . B) FIWOER. WEFAVING THE HOUnpLE ELEHENTS OF THE BALANCED DET THROUGH -rKEMe.E.LVE=5 B€FORE PASSING THEM THROUGH THE HEPOLE- coM-RoLLED OF K REF BAND. 0 Ar INTERSECTIoNS ce REP SNIDS, ONE. BAND 15 TAKEN Off TENSION AND PASSED -n\TZOUGH -1/ SHE;·D oF «}16 GrrHER REF BAND . ARRoW -' INPWATES THIS (PossiNG.

mounting and storing ancient Peruvian textiles withherorganizedandrelaxedteaching manner that she had encountered in various institu- made the workshop a thoroughly enjoyable tions. Examples of archaeological textile experience.Havingattemptedtorecreatesome mounts used in the Archaeology and Texdle ofthetechniquesused inthesetextiles, one can Sections were also examined and discussed. only marvel all the more at the skills of their original makers. In addition to the course material, parti- cipants had the opportunity to share their Jan Vuori experiences working with this type of collec- Conservator, Textiles

Number 23 22 Fall 1992 TCN

Canadian Conservation Institute thewholemuseum. Largetemporaryshowcases Ottawa, Ontario were built, and over 200 mannequins were made by the conservation workshop in a few A Work Tour in Germany months. This workshop is always very busy, since aside from mounting in-house In December 1991, I was invited to work exhibitions, they aim to base 2/3 of their work for 4 months in 3 textile conservation on privatecommissions. Lately,this hasranged workshops in Germany. The opportunity was fromconservationofflardecorativefragments, too good to refuse, and the fact that I knew no silk flags, to liturgical vestments. Currently, German was, only slightly daunting! The they are involved in treating 20costumes from experiencehasproventobehighlyworthwhile. the Speyer Museumcollection. Many of these Although this summary can only be a brief require elaborate custom mannequins, which overview, I hope to give some insight into the are creative challenges in themselves! I was scope of projects, which can be undertaken in quite impressed with the highly constructed Germany, and the value in a work tour. This and sensitively shaped types of mannequins type of placement, combined with the that had been devised here and the ease with opportunity of living in some unique loca- which they were being made. My two month tions, has been a rich and thought-provoking stay gave me almost enough time to fully treat experience. one of these silk costumes and start a manne- My first stop, for 2 months, was the quin. I was also fortunate to partake in their DeutschesTextilmuseurn, Krefeld. Considered CIETA weave analysis technique tutorials, for one of the largest collections of its kind in which we had much fun translating key terms Germany, the museum initially grew from a into the four languages being spoken by the private textile collection used as a technical department! and stylistic resource for the workers in the regional silk and velvet weaving industry. The most appealing aspect of my European silk fragments maire up the bulk of experience at the Germanisches National the collection. Also noteworthy are the Asian, museum, Numberg, was becoming familiar African and South American textiles. A per- with their folk collection. Three large floors manent exhibit and one new exhibit peryearis comprise this museum within a museum, generated from their own collections, and the displaying domestic furniture, religious relics rest are as varied as what is available. Today, and regional costume collected from German the small, purpose-built museum faces the tiny speaking peoples since the 19thC. Most marketsquareofanimmacularelykepthistoric intriguing was the floor of highly decorative village, complete with a moated medieval and layered folk costumes, complete with castle across the street, and intensively planted beaded bridal crowns, black-printed cottons, gardens and farms surrounding. intricate knitting and substantial studded and cutleatheraccessories. Theconservationchal- My arrival was particularly welcomed, lenges posed by this multi-materialed collec- as the staff were glad to have any extra help tionarefurthercomplicatedby their display on with the museum's largest exhibition to date, original turn of the cennuy plaster and wire on 19thand 20thC sportswear. Displayscovered mannequins. These are charming and unique

Number 23 23 Fall 1992 TCN artifacts in themselves, having been moulded in seeing many collections and contrasting and painted to show the facial features of each various techniques and projects in a short regional group. I was able to trear an 18thC space of time. My lack of German was a little folk carpet, involving a lot of dyeing and more of an obstacle that I'd allowed myself to support stitching. think about before my flight! But mostly I benefitted from those patient colleagues who Bamberg, termedthe Rome of the north, were eager to perfect their English. As to the is built on 7 hills crowded with Baroque archi- finances of such a venture, I was able to live recture and at least one church to each hill. quite inexpensively in Krefeld by exchanging Contemplative figures of saints dot these hills, my labour for accommodation. The museum and also appear in some surprising places. The in Niimberg also has an inexpensive guest reward of climbing the steep, winding roads is room forcolleagues. A worktourgrantawarded wonderful views and visits to the surprising by the Canadian Museums Association also beer gardens. The textile conservation defrayed costs. workshop of the Bavarian Denkmalpflege is a 40 minute bike ride out of town and set in a My sincere thanks go to all those who beautiful country Baroque schloss in a park contributed to this memorable experience. setting with lake and fruit trees. Frau Worch is the busy conservator here, responsible for the Gaelen Gordon care of all Bavarian state and church owned Getty Intern, National Gallery of Art, textiles. Work often centres around the Washington DC treatment of liturgical vestments, and sometimes grave finds. She is full of ideas and is aninventive problem solver. An example of thisisheruseofmagnetstoaidinthesmoothing OOK REVIEWS of the fabric of a ca. 7thC chasuble relic.

The most interesting field trip we made To Pleasethe Caribou: Painted Caribou- together involved a trip to an old Jewish syna- skin Coats worn bv the Naskapi. Montagnais, gogue where several bundles of embroidered And Cree Hunters of the Ouebec-Labrador religioustextileshavebeenrecentlydiscovered Peninsula (softcover $35/hardcover $60) by stashed beneath the eaves. Dorothy K. Burnham was published this year bytheRoyalOntarioMuseum.Thisbeautifully My work took the form of treatment of illustrated book provides an excellent descrip- a fraternity hat of leather, wool and silver tion of the production and meaning of painted wrapped threads, involving electrolyric caribou-skin coats. Mrs. Burnham begins with reduction as part of the procedures. a rich historical perspective followed by a brief discussion ofthecaribouinrelationtocaribou- A three-part placement in 4 months has skin coats. The author then begins her detailed its pros and cons. For me, the need to adjust analysis of painted caribou-skin coats by quickly to new environments and procedures describing and illustrating the patterns and was outweighed by the opportunities offered construction procedures. Mrs. Burnham

Number 23 24 Fall 1992 TCN

includes a detailed explanation of how she (page 82-83) identified temporal variations in cut and sil- houette. Mrs. Burnham's intensive examination of 60 painted Caribou-skin coats located in «Although the cut of the coats remained over 20 museums in 10 countries provides an fairlyconstant during the twocenturiesoftheir exceptionally well documented summary of use, there was subtle but continuous one aspect of the material culture found on the development. In order to document this, Quebec-Labrador Peninsula. Photographs, measurements were taken at the waist and the pattern illustrations, drawings of decorative bottom of each coat, and the proportion of the detail, and other information is included for flare of the skirts..." (Page 25). each coat ina separate reference section. No- tes, references, illustration credits, and an in- Mrs. Burnham's attention to details is dex of all the coats used forthisdocumentation evident throughout this book. For example, areincluded. This book is a valuable reference although quill wrapping and beading was rarely book for a wide variety of professionals

used by the Naskapi, Montagnais, and Cree including conservators, curators, hunters in the Quebec-Labrador area., techni- anthropologists, and historians. It contributes ques which were used occasionally are significantly to our understanding of caribou- described in detail. A valuable addition to this skin coats found on the Quebec-Labrador book is the section analyzing the placement of Peninsula- painted decorative lines. Temporal variations in the colors used to create the decorative lines Dr. Jill Oakes is Assistant Professor in the are explained with references tochangesin the Faculty of Home Economics at University of materials and techniques used to produce each Alberta, Edmonton, Alberta color.

A large portionofthis bookisdevotedto Mccord Museum of Canadian History, a discussion of the design motifs, a topic of En=glama great interest to many readers. The motifs are Form and Fashion: Nineteenth-Century divided into 17 groups, including quadrates, Montreal Dress double curves, chevrons, circles, crosses, The re-openingof the McCord Museum parallellines, scallops,andzigzags. Eachgroup on May 9, 1992, has long been awaited, and is described, illustrated, and analyzed for particularly so by those with an interest in temporal and regional variations. Forexample costume and textiles. The Museum has been closed to the public for renovation and expan- Leavesam fitted in aroundothermotifs sion since January 1989. (See TCN Fa111991, on mos[ of the coats in this series. Many are #21, p. 27 "News from the McCord Museum completely stylized but a few are drawn with of Canadian History.") morefreedomanddemilandpossiblyrepresent the leaf of an actual tree or shrub.... Many of The design of the Museum and irs the coats from the lath 18[h century on use exhibitS, blends old and new carefully and pairs of leaves above the double-curve motif." harmoniously. The texts and labels throughout

Number 23 25 Fall 1992 TCN the galleries are informative without being of these styles is realised in the garments on ponderous or dense. Of special interest for view. costumeenthusiastsisthe NotmanGallery that Sixteen costumes are displayed dating makesaccessible someofthemarvellousdated from 1810-1898. Each is shown on a white portraits from the nineteenth-century period mannequin with white paper wigs that photographer, that document Montreal life as balance the silhouette and focus the attention well as society personalities and their dress. on thedetailsofdressand textile. A particularly splendid costume is a cream silk tulle evening The Museum is to be lauded for having dress with , lace and pearl trim dated designated a permanent gallery for its impor- 1860-63 donated by the Molson family. It is a tant costume and textile collection. This is delight to see such objects preserved and especially significant in the early 19905 when conserved. One criticism of the otherwise costume departments and staff in North exemplary display, is that two of the costumes America have been decreased or eliminated, chosen, both from the 1890s, are original only exhibition space reduced or exhibits cut in the bodice. Both are lovely examples of the altogether. This gallery is in addition to cos- period and nicely tesafy to the cyclical style tume artifacts that are integrated in other theme as featured in their sleeves. However, displays within the museum. given the scope of the collection could not one of these have been a complete ensemble, if The modern costume/textile gallery, of perhaps a little less glamorous? almost 1300 sq. ft.. is minimally detailed. Its main design feature is a warm hardwood Thisinauguralexhibitiswellmarkedby platform for the displays thar runs in a abilingualcaraloguethatgreatlyexpands upon curvilinear wave along each side of the gallery, the theme of the show. Form and Fashion: leaving the end walls for text and support Nineteenth Century Montreal Dress ($29.95) material. There is no casework or glass, only a is written by Jacqueline Beaudoin-Ross, Cos- low metal rail that supports labels. There is a rume and Textiles Curator, and includes 16 sensoralarm system to deter over enthusiastic colourplatesofthecostumesondisplayand 57 visitors from getting too close to the ardfacts. black and white photographs from The overall effect is one of light, space and contemporary fashion plates and places elegance. Montreal fashion into a larger, international framework. The Nomian photographs testify The opening exhibition, Form and tothedisseminationoffashionablenineteenth- Fashion: Nineteenth-Century Montreal Dress, century dress from Europe to Montreal and looks artheevolutionof thefashionablefemale only then, latterly, to America. As Ross silhouette, taking, as a case study, the cyclical suggests, "The Notman studio portrait rise and fall of the sleeve. This is documented photographs are an outstanding source for the not only in the costumes but also in fashion observa-tion...and...the study of many aspects plates from the period. A small display of of nineteenth-cenwry cosmme."(65) This European and Montreal fashion plates testify scholarly essay sheds a great deal of light on to the short time span it took for European Montreal dress, which was very "au courant" styles to reach Montreal. The actual adoption with the latest European styles. Ir provides an

Number 23 26 Fall 1992 TCN

excellent foundation for further research into scientists andconservators who have researched Canadian, and particularly Montreal dress, and/or have had wide experience using them: and its position between English, European Starch Pastes and American influences. It is a welcome Cellulose Ethers addition to the scant literature on Canadian Acry lic Emulsions fashion. PVA Emulsions

EVA Emulsions

The administration and staff of the PVA Resins McCord are to be congratulated on the visual Acrylic Resins and intellectual success of the Museum and its EVA Resin-Based Adhesives inaugural displays. For costume afficionados we are particularly fortunate to be able to The aging characteristics of these adhesives anticipate future exhibitions of this calibre in will also be investigated. A number of the new gallery. conservatorswillpresentcasestudiesinvolving the use of reversal of specific adhesives. Alexandra Palmer is Ph.D. candidate Brighton Politechnic, England. She lives in There will be panel discussions and time for Toronto, Ontario, Canada. questions and answers. The registrarion fee will be $80 for TCG (Textile Conservadon Group Inc.) and $100 for non-members, after December

ORKSHOP ON ADHESIVES 15, 1992 $120. Registration fees will go towards covering the expenses of the symposium. The symposium on *'The Use of Adhesives and Consolidants in Textile To receive a registrarion form please write to: Conservation," is scheduled for January 21 and 22, 1993 at the Cooper Hewitt Museum. The Textile Conservation Group Inc. Approximately 18 speakers will discuss the C/O Department of Anthropology following topics: American Museum of Natural History * Aclassificarionofadhesivesandconsolidants Central Park West ar 79th Street used in textile conservation. New York, NY 10034-5191 * An investigation of the circumstances under USA which an adhesive treatment might be Tel: 212 769-5893 appropriate. Fax: 212 769-5334

* The advantages adhesives may have. * The use of adhesives for lining textiles. * The use of adhesives as consolidants.

The properties of the following categories of adhesives will be reviewed by conservation

Number 23 27 Fall 1992 TCN

Howard Avenue (upper Level) Kensington, UPPLIES Maryland20895-2418,U.S.A.Telephone: 301- 564-1225, Fax: 301-564-9583

Polyester Batting Silk Threads and Museum Services Corporation is reordering the Polyester Batang Material fromthe factory. Maggie Backman imports beautiful silk fila- This material is made especially to their ment threads, ribbons and metallic threads specifications in bulk orders by the pound with from Japan. The silk is quite lustrous and so is a minimum weight order of 500 pounds. suitable for some things in conservation but Unfortunately,eachrollweighsapproximately not for others. I used the three ply machine 8 pounds only so that a minimum order can twist to couch merallic threads and to do result in many rolls. They do not have the conservadon on a Cantonese opera costume storage space hold these rolls and therefore that was made of a silk satin at the UBC havetohaveconfirmedpurchasedordersready Museum of Anthropology, in Vancouver. I to to be shipped once it is received from the usedonlyoneofthethreepliesforthestitching. manufacturer. Itworked beautifully andlooked well. Mostof Ir has a great many uses from storage and the "Tire Line Silk" threads can be used in a mounting to packing of artifacts for traveling. sewingmachine.Maggiewhorunsherbusiness Brand Name from her home supplies tips for their use as Bonded Richfab Bat Garrett well as lotsof general information about them. Composition She will send a brochure with a few samples 20% Acrylic resin by weight (Methacrylate) and a photo colour card for $4.00 U.S. She Not twisted, needle bonded or heat bonded; takes VISAand Mastercard,thereisnoduryon Especially fabricated for textile conservation silk thread or fabric. needs, Please write to: Adhesive Used Things Japanese Methacrylate. Safe for museum quality use. 9805 N.E. 116th Street Suite 7160 Dimensions. Kirkland, WA 98034 One ounce per square foot; one inch thick. U.S.A. 72 inches x 21 feet in rolls (7 yards) Telephone: 206-821-2287 Roll is approximately 2 feet in diameter. Fax: 206-823-4907 pH Information from Joan Marshall, Canadian pH neutral; no chlorides detected. Conservation Instinite. Colour

Natural white. Archival Products

Price 65.00 $ US per roll La Papeterie Saint-Armand in Montreal stocks afairamountofarchivalmaterialsformuseum To order or for more information please con- use. The owner David Carruthers is very tact Museum Services Corporation 4216 accommodating with special requests and

Fall 1992 Number 23 28 TCN

always has good ideas on how to solve a problem. The prodUCIS in stock include:

*Archivart Neutral Papers *Archivart Library, St Armand and Rising Boards *Wet Repair Papers *Neutracor print, artefact and textile boxes *Archivart Textile Boxes *Neutracor File folders, folders for mailing or

storage. *Lineco Products

*Adhesives *Acid free tissue papers *Mylar *Marbled Papers *Repair Papers for Backing and Mending

For more information and a price list contact: La Papeterie St. Armand 950, rue Ottawa, Montreal, Quebec, Canada H3C 154

Tel: 514- 874-4089

Fax: 514- 874-4089

CORRECTION

In the article Conseucting Oversized Textile Storage Trays and Boxes by Carl Schlichting (TCN Number 20 Spring 1991 pp.21-26) theproductHi-Corewasincorrectly described as being made of polycarbonate. Maira Plast does produce a polycarbonate sheet called Verolite which is used primarily as glazing. Verolite can not be worked as described in the article. Hi-Core sheets are made of polypropylene.

Number 23 29 Fall 1992 TCN

TEXTILE CONSERVATION UBSCRIPTION NEWSLETTER P.O. Box 423, St. Lambert, Quebec The TEXTILE CONSERVATION J4P 3PS, Canada NEWSLETTER is published twice a year in the spring and fall. The two year Please send all submissions in typed subscription costs: formorifpossibleproducedon IBMcompatible North America 29.00 Cdn. Wordperfect4.2,5.Oor 5.1 on 5 1/4" or 3 1/2" Outside North America 39.00 Cdn. disk. Submissions sent by electronic mail (FAX) are welcome but if there are any BackissuesofTEXTILECONSERVATION illustrations thar accompany the article, they NEWSLETTER and Supplementaries: will not reproduce well. We would appreciate North America - 4.00 Cdn. it if the illustrations could be sent by mail or Outside North America - 5.50 CAn. courier if time is running out. For the best postage and handling included. production of illustrations and clear black and white photographs, copy-ready artwork is Method of Payment required. Your disks will be returned but we cannot return the artwork. Articles can be as Our bank has recently returned some money orders (some drawn on Canadian banks) from short as 1 page and as long as 6 or 7. Anything outside Canada and U.S.A. that did not have longer than that will be considered for the sufficient encoding for the bank in Canada publication as a Supplementary. to process them. These items cost TCN from Editors: Eva Burnham $3.75 to $10.00+ to be hand processed which Ruth K. Mills quickly reduces the funds available for producing the Newsletter. When ordering Cynthia Cooper back issues or subscriptions, please request an "International Money Order" drawn on a Subscriptions: Eva Burnham Canadian clearing bank encoded with the following three part coding line: Treasurer: Cynthia Cooper (5 digit no.)-(3 digit no.)-(acct. no.) (branch code) (bank code) Disclaimer Thank you for your cooperation. Articles in the TEXTILE CONSER. VATION NEWSLETTER are not intended as complete treatments of the subjects but UBMISSIONS rathernotes published for the purpose ofgeneral interest. Affiliation with the TEXTILE We welcome submissions on:Textile CONSERVATION NEWSLETrER does Conservation, History Technology, Analysis not imply professional endorsement. and information on upcoming courses, conferences and exhibitions. Submissions Deadlines for 1992-93 are: 1 February and address changes and correspondence should 1 September be addressed to: ISSN 11-80-3649

Number 23 30 Fall 1992 TCN

TEXTILE CONSERVATION NEWSLETTER SUBSCRIPTION

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BACK ISSUES (Please Specify): Please make cheque. money order' or bank draft in Canadian Funds payable to: "Textile Conservation Newsletter". Mail to TCN, P.O. Box 4811. Station E. Ottawa, Ontario, Canada KlS 5J1 ' Please request an " International Money Order" drawn on a Canadian clearing bank encoded with the following three part coding line: (5 digit number) . (3 digit number) . (account number) (branch code) (bank code)

Number 23 31 Fall 1992